Chapter 5

21. Which group of filmmakers is typically associated with the long take? A. Orson Welles, Kenji Mizoguchi, Andy Warhol, and Gus van Sant B. Howard Hawks, Buster Keaton, Robert Bresson, and Louis Lumière C. Georges Méliès, Akira Kurosawa, Abel Gance, and Sergei Eisenstein D. Erich von Stroheim, Samuel Fuller, Alain Resnais, and Richard Lester

A. Orson Welles, Kenji Mizoguchi, Andy Warhol, and Gus van Sant

3. The projection speed for sound films was first standardized at A. 24 frames per second. B. 50 feet per minute. C. 36 frames per second. D. 30 minutes per reel.

A. 24 frames per second.

9. "Contrast" refers to A. the difference between the darkest and lightest parts of a frame. B. the darkest part of a frame. C. a mixture of black-and-white frames and color frames. D. the use of color to emphasize images in a frame.

A. the difference between the darkest and lightest parts of a frame.

30. Which of the following is NOT true of an extreme close-up? A. It singles out one portion of a character's face. B. It focuses on a character from the waist up. C. It isolates an object. D. It magnifies an object.

B. It focuses on a character from the waist up.

27. In a crane shot, the camera moves A. in any direction along the ground. B. above the ground level. C. diagonally. D. in circles.

B. above the ground level.

15. In a canted camera position, objects on the screen appear A. upside down. B. not to be level. C. as seen from directly above. D. as seen at ground level.

B. not to be level

33. Slow motion is achieved by decreasing the number of frames per second shot.

False

34. Wide-angle lenses are also referred to as "telephoto" lenses.

False

38. The Lumière brothers' early camera was too bulky and heavy to take on location, leading them to shoot exclusively in a film studio.

False

31. A low-contrast image displays a wide range of grays.

True

32. The range of tonalities in the image is most crucially affected by the exposure of the image during filming.

True

35. A long-focal-length lens tends to squash the planes of action together, reducing the impression of depth.

True

36. "Racking focus" refers to adjusting the camera to change the plane that is in focus.

True

37. Digital grading allows for altering the color of shots in postproduction.

True

39. Rear projection seldom creates convincing depth cues in the frame.

True

43. "Perspective" refers to a set of spatial relations around a particular viewing point.

True

45. Today telephoto lenses, sometimes called long lenses, are usually at least 100 mm in length.

True

4. Which of the following is NOT affected by the focal length of the camera lens? A. Magnification B. Depth C. Scale D. Aspect ratio

D. Aspect ratio

12. Which of the following describes a type of widescreen image? A. Hard matte B. Composite image C. Full-frame D. Academy ratio

A. Hard matte

29. Shots in which a filmmaker prefers bumpy over smooth camera movements are usually created A. by the operator walking with a handheld camera. B. in the postproduction phase. C. with a camera mounted to a dolly. D. by the operator deliberately jerking the camera up and down rapidly.

A. by the operator walking with a handheld camera.

25. Viewers are most aware of off-screen space when A. it creates surprise or suspense. B. a character looks or gestures at something happening off-screen. C. a character is unaware of what is happening off-screen. D. it has been shown several times in the film.

A. it creates surprise or suspense.

23. A digital colorist adjusting an image's tonality in postproduction has the ability to A. use a color timer or grader to change a print's color range. B. adjust color in specific parts of the frame and maintain that adjustment. C. hand color certain parts of a shot. D. dip the developed film into a bath of dye to change the color.

B. adjust color in specific parts of the frame and maintain that adjustment.

19. A central characteristic of the cinematography in Jean Renoir's Grand Illusion is A. long takes with a nearly static camera and complex staging in depth. B. frequent tracking shots that emphasize significant details in the mise-en-scene. C. innovative use of the zoom shot in almost every scene. D. almost constant craning shots.

B. frequent tracking shots that emphasize significant details in the mise-en-scene.

13. An anamorphic process A. has a built-in filter that permits "day-for-night" shooting. B. is used to squeeze a widescreen image onto a strip of film. C. is specifically designed for use on a Steadicam. D. gives greater depth of field than any other type of lens.

B. is used to squeeze a widescreen image onto a strip of film

5. A zoom lens is a A. lens with an extremely long focal length. B. lens that can change focal length while a shot is being filmed. C. lens with a special mount that can be changed quickly between shots. D. short lens used for rapid camera movements.

B. lens that can change focal length while a shot is being filmed.

10. Which of the following is NOT a type of composite filming? A. Matte B. Rear projection C. Racking D. Front projection

C. Racking

26. A medium shot frames the body A. from the chest up. B. from the knees up. C. from the waist up. D. from the neck up.

C. from the waist up.

1. Technicolor was notable for A. its soft, warm pastels. B. its ease of use during shooting. C. its rich, saturated hues. D. its need for less light than earlier color processes

C. its rich, saturated hues.

18. "Reframing" refers to A. taking one lens off the camera and putting on another with a different focal length. B. moving the camera forward after the master shot has been filmed, in order to get closer views. C. making short pans or tilts to keep the composition balanced. D. inserting hard mattes into the camera to achieve widescreen aspect ratios.

C. making short pans or tilts to keep the composition balanced.

6. "Depth of field" refers to A. the distance the actors have to be from the camera to prevent their heads from going out of the frame. B. the distance from the camera to the back wall of the set. C. the range of distances from the lens in which objects filmed will be in focus. D. how large objects appear within the frame.

C. the range of distances from the lens in which objects filmed will be in focus.

22. The speed of motion presented on-screen depends on A. the number of frames per second of celluloid used. B. the rate of projection alone. C. the rate of shooting and the rate of projection. D. frame size and shape.

C. the rate of shooting and the rate of projection.

16. Terms for camera distance, such as "medium shot," are based on A. the actual distance of the characters from the camera. B. the focal length of the lens being used. C. the size of the figures relative to the frame. D. how high the actors' heads are in the frame.

C. the size of the figures relative to the frame.

20. The form of Michael Snow's Wavelength is structured around which type of mobile framing? A. Slow tracking shots through an abandoned loft B. Rhythmic panning to catch the reactions of a crowd C. A series of slow craning shots on a beach D. An irregular series of zoom-ins across a room

D. An irregular series of zoom-ins across a room

40. A zoom lens allows filmmakers to magnify or minimize objects without changing perspective relationships in the shot.

False

41. A "long take" is a shot taken with the camera at a considerable distance away from the main subject of the shot.

False

42. "Day-for-night" technique involves shooting outdoor day scenes at night.

False

44. If a wide-angle lens and a telephoto lens photograph the same scene, the perspective relations in the images they capture will likely be the same.

False

46. The most realistic type of special effect is superimposition.

False

47. Current 3-D technology creates live-action images with all of the volume and solidity of the real world by always using extreme depth of field.

False

14. In cinematography, "mask" refers to A. a technique used to change the shape of the frame. B. a filter placed over the lens to change the color of the scene. C. the case placed around the camera to muffle its noise for sound filming. D. shades used to keep sunlight from creating lens flares.

A. a technique used to change the shape of the frame.

7. Deep-focus cinematography was popularized in 1940s in part by A. Gone with the Wind. B. The Crime of M. Lange. C. The Wizard of Oz. D. Citizen Kane.

D. Citizen Kane.

17. Which of the following is NOT a standard term for a type of mobile framing? A. Tilt B. Crane C. Pan D. Glide

D. Glide

8. Which of the following statements is NOT true concerning Peter Jackson's use of computer-generated imagery in The Lord of the Rings trilogy? A. It was used to create portions of the mise-en-scene. B. It was used to create characters with individual artificial intelligence. C. It was used to create digital stunt doubles for actors. D. It was used mainly to create vast crowds of soldiers.

D. It was used mainly to create vast crowds of soldiers.

28. What type of camera movement swivels the camera horizontally on a vertical axis? A. Crane B. Dolly C. Tilt D. Pan

D. Pan

24. A moving circular mask that opens to reveal a scene or that closes to conceal a scene is called A. an eye mask. B. a lens. C. a filter. D. an iris.

D. an iris.

11. Slices of glass or gelatin placed in front of the lens of a camera to prevent certain frequencies of light from reaching the film are called A. toners. B. blockers. C. exposures. D. filters.

D. filters.

2. Tinting and toning are A. printing techniques used to correct flaws in an image's color. B. makeup used to adjust skin tones to suit the color balance of the film stock. C. methods of using filters to change the color of the light on the set. D. methods for using dyes used to add color to black-and-white film.

D. methods for using dyes used to add color to black-and-white film.

48. "Aspect ratio" is the ratio of frame width to frame height.

True

49. In an extreme long shot, a human figure appears tiny or is lost to view.

True

50. Action involving digital special effects must be shot in front of a blue or green screen.

True