McqMate
| 1. |
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 | |
| 2. |
High angle shot indicates that the camera is positioned …………the subject |
| A. | below |
| B. | above |
| C. | at the eye level |
| D. | opposite |
| Answer» B. above | |
| 3. |
_________ light method measures light intensity falling upon a subject from each lamp direction in turn. |
| A. | incident |
| B. | reflected |
| C. | surface brightness |
| D. | none of the above |
| Answer» A. incident | |
| 4. |
A system of numbering that allows you to find out any recorded image with pinpoint accuracy is known as…………….. |
| A. | time bar |
| B. | frame code |
| C. | frame rate |
| D. | time code |
| Answer» B. frame code | |
| 5. |
A colored lens or paper that is placed in between the light source and the subject to either darken or lighten a particular colour is a………. |
| A. | filter |
| B. | transparency |
| C. | barn door |
| D. | aperture |
| Answer» A. filter | |
| 6. |
… ………….is a process of converting analog audio into digital audio |
| A. | sampling |
| B. | recording |
| C. | stretching |
| D. | digitizing |
| Answer» D. digitizing | |
| 7. |
_________ shots do not allow audiences to see details |
| A. | close-up |
| B. | long |
| C. | medium |
| D. | none of the above |
| Answer» B. long | |
| 8. |
One-line treatment is usually done at the ………. |
| A. | pre production |
| B. | post production |
| C. | production stage |
| D. | scripting stage |
| Answer» D. scripting stage | |
| 9. |
……. refers to the varying levels of brightness and darkness within a particular scene. |
| A. | contrast |
| B. | exposure |
| C. | balance |
| D. | none of the above |
| Answer» A. contrast | |
| 10. |
Take is a version of a……….. |
| A. | shot |
| B. | scene |
| C. | sequence |
| D. | mise-en scene |
| Answer» A. shot | |
| 11. |
……………refers to the number of samples recorded per second from the source audio |
| A. | sampling rate |
| B. | resolution |
| C. | kerning |
| D. | bit depth |
| Answer» D. bit depth | |
| 12. |
The light source that casts sharp, well define shadows is called ………… |
| A. | key light |
| B. | fill light |
| C. | set light |
| D. | hard light |
| Answer» D. hard light | |
| 13. |
The simplest and most used transition technique for building a link between two distinct shots is |
| A. | fade |
| B. | dissolve |
| C. | cut |
| D. | wipe |
| Answer» B. dissolve | |
| 14. |
Rule of thirds is a concept related to …………………. |
| A. | trimming |
| B. | composition |
| C. | tracking |
| D. | lighting |
| Answer» B. composition | |
| 15. |
________microphone is not sensitive to handling and has wide range of applications |
| A. | condenser |
| B. | dynamic |
| C. | ribbon |
| D. | none of the above |
| Answer» A. condenser | |
| 16. |
MFD stands for ________________ |
| A. | minimum focusing distance |
| B. | maximum focusing |
| C. | distance minimum focusing direction |
| D. | none of the above |
| Answer» A. minimum focusing distance | |
| 17. |
A signal to an anchor or presenter to start talking or begin his action is termed as………. |
| A. | cue |
| B. | call |
| C. | order |
| D. | none of the above |
| Answer» A. cue | |
| 18. |
_________ shots allows audiences to see details |
| A. | close-up |
| B. | long |
| C. | medium |
| D. | none of the above |
| Answer» A. close-up | |
| 19. |
___________ tilting is associated with emotion, disappointment and sadness |
| A. | downward |
| B. | upward |
| C. | both 1 & 2 |
| D. | none of the above |
| Answer» C. both 1 & 2 | |
| 20. |
Video program is often structured for a ___________ audience format |
| A. | passive |
| B. | active |
| C. | restrictive |
| D. | none of the above |
| Answer» D. none of the above | |
| 21. |
A camera mounting that straps the camera to the body of the operator to keep the recorded image reasonably steady is known as …………. |
| A. | steadicam |
| B. | sturdycam |
| C. | studycam |
| D. | none of the above |
| Answer» A. steadicam | |
| 22. |
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 | |
| 23. |
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 | |
| 24. |
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 | |
| 25. |
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 | |
| 26. |
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 | |
| 27. |
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. | |
| 28. |
DISSOLVE TO |
| A. | a common transition |
| B. | dissolving materials |
| C. | solving an issue |
| D. | none of the above |
| Answer» A. a common transition | |
| 29. |
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 | |
| 30. |
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 | |
| 31. |
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 | |
| 32. |
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 | |
| 33. |
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 | |
| 34. |
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» A. image appear in to frame | |
| 35. |
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 | |
| 36. |
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 | |
| 37. |
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 | |
| 38. |
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 | |
| 39. |
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 | |
| 40. |
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 | |
| 41. |
INT. |
| A. | scene takes place indoors |
| B. | international movie |
| C. | interesting scene |
| D. | none of the above |
| Answer» A. scene takes place indoors | |
| 42. |
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 | |
| 43. |
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 | |
| 44. |
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 | |
| 45. |
Encoding |
| 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 | |
| 46. |
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 | |
| 47. |
wipe. |
| A. | erasing |
| B. | a transition |
| C. | cleaning |
| D. | none of the above |
| Answer» B. a transition | |
| 48. |
JUMP CUT TO: |
| A. | a transition |
| B. | action |
| C. | fight scene |
| D. | none of the above |
| Answer» A. a transition | |
| 49. |
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 | |
| 50. |
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 | |
| 51. |
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, | |
| 52. |
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 | |
| 53. |
MOS |
| A. | moment of silence |
| B. | movement of scene |
| C. | motion of systems |
| D. | none of the above |
| Answer» A. moment of silence | |
| 54. |
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 | |
| 55. |
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 | |
| 56. |
Tripods |
| A. | portable three leg frame |
| B. | camera trolley with three wheels |
| C. | dolly |
| D. | none of the above |
| Answer» A. portable three leg frame | |
| 57. |
Track shot |
| A. | dolly |
| B. | trolly |
| C. | tripod |
| D. | none of the above |
| Answer» A. dolly | |
| 58. |
Wide angle lens |
| A. | focal length is smaller |
| B. | focal length is longer |
| C. | large size of the lense |
| D. | none of the above |
| Answer» A. focal length is smaller | |
| 59. |
story board |
| A. | illustrations in sequence |
| B. | story about released film |
| C. | advertorial |
| D. | none of the above |
| Answer» A. illustrations in sequence | |
| 60. |
Depth of field |
| A. | distance between the nearest and farthest objects |
| B. | depth of back ground |
| C. | depth of object |
| D. | none of the above |
| Answer» A. distance between the nearest and farthest objects | |
| 61. |
Aspect ratio |
| A. | ratio of width and height |
| B. | ratio of width and depth |
| C. | ratio of width and diagonal |
| D. | none of the above |
| Answer» A. ratio of width and height | |
| 62. |
key light |
| A. | principle illuminator |
| B. | back light |
| C. | soft light |
| D. | none of the above |
| Answer» A. principle illuminator | |
| 63. |
OB |
| A. | outside broadcasting |
| B. | original broadcasting |
| C. | offset broadcasting |
| D. | none of the above |
| Answer» A. outside broadcasting | |
| 64. |
Continuity |
| A. | a report of shooting details |
| B. | continuous frames |
| C. | continuous shots |
| D. | none of the above |
| Answer» A. a report of shooting details | |
| 65. |
HD format |
| A. | high definition |
| B. | high density |
| C. | high-tec digital |
| D. | none of the above |
| Answer» A. high definition | |
| 66. |
Rule of thirds |
| A. | rule of composition |
| B. | rule of camera fixing |
| C. | rule of editing |
| D. | rule of art direction |
| Answer» A. rule of composition | |
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