RTV 322 Final Exam review. Anything covered this semester, items like these:
THIS HAS BEEN UPDATED
I MAY RESPOND TO E-MAILED QUESTIONS IF SENT BY 6 PM TUESDAY. I WILL NOT ANSWER QUESTIONS ON WEDNESDAY.
To move a camera and its mount in or out
To move a camera and its mount in or out
To move a camera left or right without moving the base
To move the camera head up or down without moving the base
The larger the f-stop number on a lens, the (larger/smaller) the iris opening.
A camera shot that starts with one shot in focus, then changes the focus on another object
The relationship of the brightest area to the darkest area in a given camera shot, as determined by reflected light readings.
The point of view of a camera shot in which the camera ‘eavesdrops’ on the action , as is typical in a sit-com or drama, or on a TV interview while the host and guest talk.
The point of view when talent addresses the camera.
The point of view when the camera takes on the eyes of a character in the story.
To change from picture to picture where the pictures fade across each other; or, a simultaneous fading out of one picture and fading in another
To change from black to picture or picture to black
The video camera operator has to ------the camera each time the lighting conditions change, allowing the camera to more accurately recreate all colors.
A combination trucking, panning, and dollying movement in which the camera is moved in a semicircle around a subject while the camera head remains pointed toward the subject.
A microchip inside a camera that transduces visual energy of light into electrical energy
The distance between the nearest point at which objects are in focus and the farthest point at which objects are in focus in a camera shot, or, the range of distance in front of the camera that's in sharp focus.
The zoom lens focus that is obtained by zooming in tightly on a subject and then focusing.
Space between the top of a subject’s head and the upper edge of the frame..
A principle for composing shots where the screen is divided by three equally separated lines horizontally and vertically.
CU, MS, MCU, MLS, WS, OTS (etc.) each refer to --
The line at the bottom of the screen used to define shot composition.
In theatrical movies, the director is better known as the person in charge of the production, but in prime time TV shows the ----- is more in charge of how the shows are made.
Sometimes talent is broken down into three sub-categories, including ----, who appear on camera in nondramatic roles, and ---, who generally don't appear on camera.
The ------operates the video switcher and is also sometimes responsible for coordinating the technical aspects of the production.
The -----watches rehearsals and decides on the proper mics and their placement for each scene. During an on-location shoot, this person may need strong arms to hold the mic boom over the talent for long periods of time.
The production term meaning disassembling and, if necessary, removing the equipment and accessories after the production is over.
Good directors bring in related material by adding shots called ------that show close-ups good for the viewer to see, related to but drawn from outside the central scene.
A(n)---- is a technique where a director tips us off to important things about characters by introducing us first to their surroundings.
----- can be defined as the orderly arrangement of elements in a scene which, when taken as a whole, conveys intent and meaning.
According to the rule of thirds, horizon lines should be either in the upper third or the ---
When we compose shots to get the viewer’s eyes to follow and connect from one part of the frame to another, these are referred to as ---- because they are selected or arranged to lead the viewer's eyes into the frame, and generally to the scene's center of interest.
------is a measure of the ability of a video camera to reproduce fine detail.
When shooting with a video camera, light level is measured in ---- in the United States and ----- in other countries
The DP position stands for ---
The basic camera mounts include a(n) that is used on location and does not have wheels and a(n) ----- that is used in the studio and is mounted on wheels.
DSP stands for -----
CCU stands for -----
The normal frame rate for video cameras is ----- frames per-second in the U.S.
The range of brightness to darkness in a shot is the contrast ratio. The human eye can react easily to seeing a contrast ratio of 100:1 – a standard video camera typically can handle 30:1.
Light is measured in ---- in the U.S. and primarily in ------elsewhere.
Compared to household bulbs like incandescent and fluorescent, the standard TV lamp is a(n) ------(quartz) lamp. Newer lighting instruments include HSF lights with a color temperature of ---- and HMI with a color temperature of ----.
The standard wattage of a household light bulb might be 60 or 100 watts; TV studio lamps have wattages of ----, -----, ------and sometimes 10,000 watts. A reference to a lamp being 2K means what?
The newer type of studio light that creates 3200 degrees K light with a fluorescent.
The classic controlled-beam spotlight. (Fresnel)
The newer type of light that creates the color temperature of outdoor mid-day sunlight.
Rectangular shaped floodlights.
The fixed beam spotlight used for projecting patterns by attaching a ------(cucalorous) to the front. A cucalorous is more commonly called a(n) ------(cookie).
The type of lighting instrument where the lamp faces backwards toward the housing,
providing very diffused, indirect light.
A bowl-shaped floodlight.
A translucent material used to cover lighting instruments and diffuse light.
Movable metal shutters used to control the light falling from a lighting instrument.
The measurement of the levels of reds and blues in light is measured in degrees ---.
The standard color temperature number for lights used in a TV studio.
Term that refers to the light that comes directly from the light source.
What are the three parts of 3-point lighting?
“As light to source distance doubles, the illumination is reduced to 1/4 the previous’ defines the ‘inverse square law’
The crew position that monitors and adjusts the iris opening to compensate for varying light levels going into the camera.
What f-stop setting lets the most light into then camera?
What is flat lighting?
------lighting is where the subject is not lit; background is evenly lit
------lighting is where the subject is lit evenly; background is vague or nondescriptive
------lighting is where the subject is lit with a spotlight directly above; background is not lit
-----, ------, and ------are TV's primary colors, and ------, ------, and ------are considered secondary colors.
With a 3-chip cameras, the full-color image "seen" by a professional video camera goes through a ------that separates the full-color picture into its red, green and blue components.
Single-chip cameras use a ------filter, where the one chip has an overlay of millions of tiny colored filters.
To set video signal levels, a ------graphically displays and measures the brightness or luma level of the video, and a ------is used to measure relative color (chroma) information.
Our reading says, in video, the more accurate term of ------is now replacing the term luminance, which has been commonly used.
Ideally, video levels for an average picture should be somewhat evenly distributed between ------, where "black" should start, and ------, where "white" should end.
A video camera is only capable of reproducing a limited range of brightness—the contrast ratio for video cameras is ------.
A ------is used to supply this common timing pulse for all equipment that must work in unity within a production facility.
On a waveform monitor the bottom line in the sync should be at ------(the very bottom of the waveform scale) and the top of the sync signal should go up to the baseline, or the ------point on the scale.
SMPTE stands for ------
What is a sequence?
EDL stands for ------
We call it ------editing to refer to the fact that in film and video production time is routinely condensed and expanded.
In editing, a good script (enhanced by good editing) suggests or explains why things happen, a concept we refer to as ----
------refers to the question of why something happens in a story.
------refers to arranging the sequence of shots to suggest a progression of events.
A good script suggests or explains why things happen. This is called ----- .
Compressing time to move the story along describes ----- editing.
An ------is a close-up of something that exists within the basic scene.
Unlike insert shots that show significant aspects of the overall scene in close-up, ------show something ‘away from the main scene or action’ to add related material.
In ------editing, scenes that by themselves seem not to be related take on a cause-effect significance when edited together in a sequence.
TV shows like soap operas, sitcoms, and dramatic productions typically have two or more stories taking place at the same time, where the multiple story lines are intercut, going back and forth between one and the other, a style referred to as ----- action.
Scenes which by themselves seem unrelated take on a cause-effect significance when edited together in a sequence describes ----- editing.
When edits end up being confusing or unsettling, they are called ------cuts.
The solution to most of the editing problems like jump cuts is to use ---- and ----- .
Reaction shots of the interviewer are referred to in the reading as ------.
The common term to refer to ‘supplementary footage’ used in a production.
Using momentary wide shot, then cutting to a medium shot, and then cutting to one or more close-up shots is defined in the reading as the well-established ----- formula.
In the context of the previous question, the wide shot is also called a ---- or a ---- .
Periodically going back to the wide or establishing shot to remind viewers where everyone and everything is – is referred to as cutting to a ------shot.
Another type of jump cut results from cutting from one shot to a shot that is almost identical. Not only is it hard to justify a new shot that is not significantly different, but a cut of this type simply looks like a mistake. In class we have referred to this as a ----- cut.
To avoid this type of jump described in the previous question, videographers keep in mind the ------rule, which says a new shot of the same subject matter can be justified only if you change the camera angle by at least a certain percentage.
Any time a new camera angle exceeds 180-degrees you will have crossed the line, called the ------and the action will be reversed.
“Crossing the line” when shooting refers to ------.
Another name for an establishing shot.
In an interview the videotape of supplementary footage.
A new shot of the same subject can be justified only by a significant change in angle.
Any noticeable, abrupt, or undesirable change in audio or video during a production is referred to as a ------problem.
Audio technicians will typically want to keep the camera or audio recorder running for a minute or so after an interview so that the ambient sound on the location can be recorded. This is referred to as ------or ------.
The device that allows us to set the color level in a video signal: ______.
The device that allows us to set the luminance / luma / light levels in a video signal: ______
The reading points out that Guideline #1 for editing is that edits work best when they are ------.
Guideline # 2 is that, whenever possible, cut on ------.
If something has changed in the scene -- hair, clothing, the placement of props, etc. -- and that the talent is not doing the same thing in exactly the same way in back to back shots, you have a ------error.
It's the ------job to see not only that the actor's clothes, jewelry, hair, make-up, etc., remain consistent between takes, but that props (movable objects on the set) also remain consistent.
Guideline # 3: tells us to Keep in Mind the Strengths and Limitations of the Medium, and in relation Television is a ------medium.
The pace of a production rests largely with the ------.
Howard Hawks, an eminent American film maker, said: "A great movie is made with ------and ------.
One critical type of cutaway, especially in dramatic productions, is the ------shot -- a close-up showing how others are responding to what's gong on.
Guideline number 6: The final editing guideline is: If in doubt, ------.
------is an eight-digit code that allows you to specify precise video and audio editing points.
Black and white NTSC TV has a frame rate of ------per second. For technical reasons, when the NTSC color television was introduced, a frame rate of ------frames per second was adopted.
If your editor is set so that, when you reach 01:07:59:29, the next frame would be 01:08:00:02, you would know it is set for ------time-code.
When the time-code numbers are temporarily superimposed over the video, this is called ------code; when they may become a permanent part of the picture, it is called ------time-code.
Reviewing footage and jotting down time codes for later editing:
A leader for a program, that is not seen by the audience, will typically start with a ------, that run for a minimum of ------, followed by a ------, that includes items like the title of the program and the date, followed by a ------, that then must be followed by exactly ------of black before the program begins.
On the Bars and Tone part of a Leader, audio tone is recorded at the reference level--generally, ______dB.
At the end of the production, network specifications require ------of black and silence with continuing time code after the last scene (generally the closing credits) of a production.
A moving pattern caused by an interaction between TV scanning lines and stripes (or similar patterns, like on clothing).
DSK stands for ----- .
A DSK is typically done to insert a ‘lower third’ name key – This type is referred to as a ------key because the keying effect is based on the brightness information of the video that you are keying in. This would be compared to a ----- key, where a particular color is selected for removal, like a weather anchor standing in front of a green wall and where the green is replaced with a weather map.
What is the name of the software based switcher shown in the reading?
As part of a set, a ---- can create the illusion of an endless space behind subjects
Contestant scoreboards, puzzle phrases, and spinning wheels, etc. used in game shows use this kind of set:
Sets and backgrounds that exist only in a computer:
Includes program number or episode, date, audio format, etc.
Consist of wooden frames covered by stretched canvas or bleached muslin:
This kind of set might include shadow of bars projected behind a person or a background image of a stained-glass window to suggest a church:
IFB stands for ----- (note – this reading, like many video production books, say the FB part stands for feedback – in fact, the correct word for the FB part is foldback.
IF THIS IS FILL IN THE BLANK ON THE FINAL AND YOU PUT ‘feedback’ it will be counted wrong)
How are film and video different? What cost comparisons are there? Will video eventually cause the disappearance of film?
The cover shot -- normally called the ______shot in film, is a wide shot showing the full scene or acting area.
Especially in film style shooting, the series of setups associated with a scene is commonly referred to as ---
Some directors shoot the scenes in the opposite sequence: close-ups, medium shots, and then master shot--this series of setups associated with a scene is commonly referred to as ______.
______refers to the secondary action associated with scenes. This would include fixing a drink or paging through a magazine.
The rehearsal known as ______or ______-- made up of the informal group sessions where the actors initially read through their lines—is where directors should carefully observe the character interpretation that actors are developing.
And remember, while this review has many of the main points – anything from the reading or covered this semester could be on the test.