Multiple Choice Quiz

For each of the questions that follow, only one choice accurately completes the statement. In some cases, more than one answer may seem plausible, so carefully consider each option before choosing the response that accurately completes the statement.

1		The primary determinants of how scale, depth, and spatial relationships of the scene being shot will be represented on the screen are
			A)	f-stop setting and focal length.
			B)	natural lighting conditions.
			C)	the types and lengths of edits.
			D)	the types of film stock used.
2		Operating at standard speed, how many separate still images will a camera record each second?
			A)	4.
			B)	24.
			C)	96.
			D)	128.
3		An aesthetic device, this particular technique provides an extended depth of field in which the foreground, middle ground, and background of a scene remain in sharp focus simultaneously:
			A)	broad focus.
			B)	deep focus.
			C)	wide focus.
			D)	long focus.
4		This particular kind of lens can produce a sense of great size and scope by making things appear smaller and farther apart from one another:
			A)	wide angle lens.
			B)	normal lens.
			C)	telephoto lens.
			D)	zoom lens.
5		The most commonly used gauge of film used in moviemaking today is
			A)	8 millimeter.
			B)	16 millimeter.
			C)	35 millimeter.
			D)	65 millimeter.
6		By the 1940s, when Technicolor became more common, the process was used mostly for films of these types:
			A)	screwball and romantic comedies.
			B)	melodramas and “women’s films.”
			C)	musicals, fantasies, and epics.
			D)	Westerns and films noir.
7		This studio-era technique—used to accentuate the submissiveness and seductiveness of female love interests in romance films (e.g. Ingrid Bergman in Casablanca)—made use of soft lighting and delicate shading:
			A)	high key lighting.
			B)	backlighting.
			C)	star lighting.
			D)	natural lighting.
8		The standard lighting setup known as “three-point lighting” actually consists of dozens of lights emanating from three basic sources:
			A)	key lights, fill lights, and backlights.
			B)	key lights, fill lights, and natural lights.
			C)	key lights, backlights, and natural lights.
			D)	back lights, fill lights, and natural lights.
9		This lighting technique, used frequently in musicals and comedies, has a high ratio of fill lights and produces a brightly lit image with little contrast between the darks and lights:
			A)	star lighting.
			B)	backlighting.
			C)	high key lighting.
			D)	low key lighting.
10		With low key lighting, flashing neon signs, dimly lit rooms, and patterned shadows, the visual style of the lighting provides the main thread uniting films of this genre:
			A)	Westerns.
			B)	melodramas.
			C)	films noir.
			D)	science fiction.
11		Using this point of view, individuals, events, and locations, are shown neutrally, and not from any character’s vantage point:
			A)	subjective point-of-view.
			B)	objective point-of-view.
			C)	bird’s-eye view.
			D)	worm’s-eye view.
12		A standard arrangement of shots, especially common in the 1930s and 1940s, begins by setting up the parameters of the situation and location with the use of
			A)	an over-the-shoulder shot.
			B)	an establishing shot.
			C)	an extreme close-up.
			D)	a shot/reverse shot pattern.
13		A type of camera movement that shifts the camera from left to right (or right to left) on a vertical axis is called a
			A)	tilt.
			B)	pan.
			C)	crane.
			D)	dolly.
14		Earning its inventors a technical Oscar in 1977, this invention allowed operators to carry the camera by harness and maintain a steady image even while traveling across rugged terrain:
			A)	the crane.
			B)	the dolly.
			C)	the Foley.
			D)	the Steadicam.
15		A camera angle in which the subject is positioned directly below the camera—as in the Arbogast murder scene in Psycho—is called a
			A)	worm’s-eye view shot.
			B)	low-angle shot.
			C)	eye-level shot.
			D)	bird’s-eye view shot.