Film Digital Media Ch. 11

Front 1

Field of view is a basic visualization factor relative to viewpoint.

Back 1

True

Hint 1

True or False

Front 2

Distinct vector fields that can help us clarify and intensify a screen event are called angles.

Back 2

True

Hint 2

True or False

Front 3

It is possible for the subjective camera to persuade us to associate closely with the camera's point of view and occasionally with its action.

Back 3

True

Hint 3

True or False

Front 4

The deductive visual approach is ideally suited to a large, horizontally stretched HDTV or movie screen

Back 4

True

Hint 4

True or False

Front 5

Being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus inevitably links us with the screen event.

Back 5

True

Hint 5

True or False

Front 6

If your basic visualization is determined by a looking-at context, you can cover an action from various extreme angles.

Back 6

False

Hint 6

True or False

Front 7

All of the following are traditional designations of fields of view EXCEPT:

Back 7

E. extreme medium shot

Hint 7

A. extreme long shot

B. long shot

C. medium shot

D. close-up

E. extreme medium shot

Front 8

In cross shooting, the camera moves past the shoulder of the camera-near person to get a tighter close-up of the camera-far person, and in each shot the camera-near person has temporarily moved into off-screen space.

Back 8

True

Hint 8

True or False

Front 9

A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of objective camera work.

Back 9

False

Hint 9

True or False

Front 10

Building sequential screen space means:

Back 10

D. we build screen space from shot to shot

Hint 10

A. various screen angles are presented at the same time

B. continuity is no longer important

C. aesthetic energies may be disregarded

D. we build screen space from shot to shot

E. none of the above

Front 11

Because deductive sequencing provides detailed close-up shots it is well suited to the small video screen.

Back 11

False

Hint 11

True or False

Front 12

The direct-address method is not a part of the subjective-camera approach.

Back 12

False

Hint 12

True or False

Front 13

According to Zettl, all commercials are carefully storyboarded before they go into production.

Back 13

True

Hint 13

True or False

Front 14

Even if the actions and the attitudes of the on-camera people dictate to a large extent the basic use of angles, you still have wide latitude in which angles to use and how to use them.

Back 14

True

Hint 14

True or False

Front 15

The inductive approach is essential for producing effective video for the small mobile media display.

Back 15

True

Hint 15

True or False

Front 16

cross shooting

Back 16

Similar to O/S shooting except camera-near person is out of shot

Front 17

deductive visual approach

Back 17

Moving from overview to event detail

Front 18

inductive visual approach

Back 18

Moving from event detail to general overview

Front 19

over-the-shoulder shooting

Back 19

Like cross shooting except near person partially in shot

Front 20

paraproxemics

Back 20

A pseudo-interpersonal relationship established by camera position/angle

Front 21

storyboard

Back 21

Series of sketches of key visualization points

Front 22

subjective camera

Back 22

Camera assumes role of event participant

Front 23

visualization

Back 23

Mentally seeing an image; also, the particular characteristics of a video/audio image

Front 24

Angles cannot be used to intensify an event or to reveal the underlying feelings of a person in a particular situation

Back 24

False

Hint 24

True or False

Front 25

All of these are basic visualization factors relative to viewpoint EXCEPT:

Back 25

B. location and time of day

Hint 25

A. field of view

B. location and time of day

C. above and below eye level

D. subjective camera

E. camera angles

Front 26

The deductive approach is essential for producing effective video for the small mobile media display.

Back 26

False

Hint 26

True or False

Front 27

How can you intensify the power of an object or a person?

Back 27

A. camera looks up at the object or person

Hint 27

A. camera looks up at the object or person

B. camera looks down on the object or person

C. camera looks at the object or person straight on at eye level

D. camera uses a rack-focus effect on the object or person

E. camera looks at the object or person from the side at eye level

Front 28

Even when we "create" an event, the event must be a picture taken of an actual object or happening.

Back 28

False

Hint 28

True or False

Front 29

Through superimposition, matting, or multiscreens, we can show a variety of angles at the same time, thereby creating:

Back 29

D. simultaneous angles

Hint 29

A. sequential screen space

B. viewpoint-angle consistency

C. cinerama

D. simultaneous angles

E. a major screen event

Front 30

The most common way of using point of view is to have the camera first focus on a person looking in a particular direction and then follow with a shot of what the person sees.

Back 30

True

Hint 30

True or False

Front 31

A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of subjective camera work.

Back 31

True

Hint 31

True or False

Front 32

A storyboard cannot include audio information.

Back 32

False

Hint 32

True or False

Front 33

The visual approach used to report an event from an objective point of view is called:

Back 33

C. looking at an event

Hint 33

A. looking into an event

B. creating an event

C. looking at an event

D. looking through an event

E. structuring an event

Front 34

In practice, the three basic ways of looking usually - and should - overlap.

Back 34

True

Hint 34

True or False

Front 35

field of view

Back 35

Territory a shot inculdes

Front 36

jump cut

Back 36

Image jerks from one position to another during cut

Front 37

point of view (POV)

Back 37

For camera, describes position/angle involvement

Front 38

The visual approach that uses the technical devices and the potentials of the medium to build a unique screen event that depends entirely on the medium is called:

Back 38

B. creating an event

Hint 38

A. looking into an event

B. creating an event

C. looking at an event

D. looking through an event

E. structuring an event.

Front 39

Visualization depends on the context of each shot and the overall visual approach of how you want to tell the story

Back 39

True

Hint 39

True or False

Front 40

In over-the-shoulder shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person and vice versa

Back 40

True

Hint 40

True or False

Front 41

Distinct vector fields that can help us clarify and intensify a screen event are called angles

Back 41

True

Hint 41

True or False

Front 42

Regardless of the specific production approach, all CUs occupy the same screen space.

Back 42

False

Hint 42

True or False

Front 43

The visual approach used to provide an insight into the nature and the emotions of an event is called:

Back 43

A. looking into an event

Hint 43

A. looking into an event

B. creating an event

C. looking at an event

D. looking through an event

E. structuring an event

Front 44

The visual approach used to report an event from an objective point of view is called:

Back 44

C. looking at an event

Hint 44

A. looking into an event

B. creating an event

C. looking at an event

D. looking through an event

E. structuring an event

Front 45

The amount of territory a shot includes an from how far away we seem to look at the event is defined as our:

Back 45

D. field of view

Hint 45

A. aesthetic field

B. focal point

C. depth of field

D. field of view

E. point of view

Front 46

In cross shooting, the camera moves past the shoulder of the camera-near person to get a tighter close-up of the camera-far person, and in each shot the camera-near person has temporarily moved into off-screen space.

Back 46

True

Hint 46

True or False

Front 47

Seeing individual shots or short shot sequences in a specific way is called:

Back 47

B. visualization

Hint 47

A. continuity

B. visualization

C. filmic creation

D. directorial creation

E. determination

Front 48

If your basic visualization is determined by a looking-into context, you can cover an action from various extreme angles.

Back 48

True

Hint 48

True or False

Front 49

Being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus inevitably links us with the screen event.

Back 49

True

Hint 49

True or False

Front 50

A simultaneous display of various viewpoints by changing from shot to shot, provides a new visual reality that permits us to experience the complexity of an event all at once.

Back 50

True

Hint 50

True or False