ࡱ> dfc 7bjbj:: @kPP@.c'''''''''8(TY(t' 4(((((()))33333335L8R3')))))30''((3000)'('(30)300 3''U3$U,'r*!3q3<30 4)3,808U30'U3))) &:   CHAPTER 5 THE SHOT: CINEMATOGRAPHY Multiple-Choice Questions 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. Answer: c Blooms level: Remember 2. Tinting and toning are a. printing techniques used to correct flaws in an images 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. Answer: d Blooms level: Remember 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. Answer: a Blooms level: Remember 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 Answer: d Blooms level: Understand 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. Answer: b Blooms level: Remember 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. Answer: c Blooms level: Remember 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. Answer: d Blooms level: Remember 8. Which of the following statements is NOT true concerning Peter Jacksons 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 allowed the use of computerized storyboards instead of the less advanced animatics usually used for special effects. Answer: d Blooms level: Understand 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. Answer: a Blooms level: Remember 10. Which of the following is NOT a type of composite filming? a. matte b. rear projection c. superimposition d. front projection Answer: c Blooms level: Remember 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. Answer: d Blooms level: Remember 12. Which of the following describes a type of widescreen image? a. hard matte b. composite image c. full-frame d. Academy ratio Answer: a Blooms level: Understand 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. Answer: b Blooms level: Understand 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. Answer: a Blooms level: Remember 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. Answer: b Blooms level: Remember 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. Answer: c Blooms level: Understand 17. Which of the following is NOT a standard term for a type of mobile framing? a. tilt b. crane c. pan d. glide Answer: d Blooms level: Remember 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. Answer: c Blooms level: Remember 19. A central characteristic of the cinematography in Jean Renoirs 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. d. almost constant craning shots. Answer: b Blooms level: Remember 20. The form of Michael Snows 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 Answer: d Blooms level: Remember 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 Lumire c. Georges Mlis, Akira Kurosawa, Abel Gance, and Sergei Eisenstein d. Erich von Stroheim, Samuel Fuller, Alain Resnais, and Richard Lester Answer: a Blooms level: Remember 22. The speed of motion presented on-screen depends on a. the number of frames per second. b. the rate of projection alone. c. the rate of shooting and the rate of projection. d. frame size and shape. Answer: c Blooms level: Remember 23. In what type of composite filming were angled mirrors used to create more realistic-looking backgrounds? a. rear projection b. front projection c. matte work d. side projection Answer: b Blooms level: Remember 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. Answer: d Blooms level: Remember 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. Answer: a Blooms level: Remember 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. Answer: c Blooms level: Remember 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. Answer: b Blooms level: Remember 28. What type of camera movement swivels the camera on a vertical axis? a. crane b. dolly c. tilt d. pan Answer: d Blooms level: Remember 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. Answer: a Blooms level: Remember 30. Which of the following is NOT true of an extreme close-up? a. It may single out a portion of a characters face. b. It may focus on a character from the waist up. c. It may isolate an object. d. It may magnify an object. Answer: b Blooms level: Remember True-False Questions 31. A low-contrast image displays a wide range of grays. Answer: True Blooms level: Remember 32. The range of tonalities in the image is most crucially affected by the exposure of the image during filming. Answer: True Blooms level: Understand 33. Slow motion is achieved by slowing down the rate of filming. Answer: False Blooms level: Remember 34. Wide-angle lenses are also referred to as telephoto lenses. Answer: False Blooms level: Remember 35. A long-focal-length lens tends to squash the planes of action together, reducing the impression of depth. Answer: True Blooms level: Remember 36. Racking focus refers to adjusting the camera to change the plane that is in focus. Answer: True Blooms level: Remember 37. Digital grading allows for altering the color of shots in postproduction. Answer: True Blooms level: Understand 38. The Lumire brothers early camera was too bulky to take on location, leading them to shoot in a film studio. Answer: False Blooms level: Remember 39. Rear projection seldom creates convincing depth cues in the frame. Answer: True Blooms level: Remember 40. A zoom lens allows filmmakers to magnify or minimize objects without changing perspective relationships in the shot. Answer: False Blooms level: Remember 41. A long take is a shot taken with the camera at a considerable distance from the main subject of the shot. Answer: False Blooms level: Remember 42. Day-for-night technique involves shooting outdoor day scenes at night. Answer: False Blooms level: Remember 43. Perspective refers to a set of spatial relations around a particular viewing point. Answer: True Blooms level: Remember 44. If two different lenses photograph the same scene, the perspective relations in the images they capture will likely be the same. Answer: False Blooms level: Understand 45. Today long lenses are usually at least 100 mm in length. Answer: True Blooms level: Remember 46. The most realistic type of special effect is superimposition. Answer: False Blooms level: Remember 47. Current 3-D technology creates a sense of depth by displaying flat-looking planes from back to front. Answer: False Blooms level: Remember 48. Aspect ratio is the ratio of frame width to frame height. Answer: True Blooms level: Remember 49. In an extreme long shot, a human figure appears tiny or is lost to view. Answer: True Blooms level: Remember 50. Action involving digital special effects must be shot in front of a blue or green screen. Answer: True Blooms level: Remember Essay Questions 51. (a) Describe and discuss at least three aspects of the cinematography in this shot/these shots in the time allotted. Be sure to discuss both the framing and the photographic qualities of the image. (b) How do the factors you isolate contribute to the meanings and effects of the shot? Answer: Answers will vary Blooms level: Analyze Instructor info: Choose a slide that exemplifies several aspects of cinematography and leave it on the screen for the duration of this question, or show a brief clip a few times. 52. Discuss the use of off-screen space in this shot/these shots. Then go on to describe some ways filmmakers can use off-screen space, drawing on examples from Film Art, the lectures, and any of the films seen in this class. Answer: Answers will vary Blooms level: Analyze Instructor info: Show a brief clip that makes significant and varied use of off-screen space. 53. Describe some of the tools of mobile framing available to the cinematographer and some of the artistic functions they can serve. Give some specific examples from Film Art, the lecture, and any film seen for this class. Answer: Answers will vary Blooms level: Understand 54. Describe how computer-generated imagery was integrated into all stages of production in Peter Jacksons film adaptation of J. R. R. Tolkiens The Lord of the Rings. Answer: Answers will vary Blooms level: Analyze     CHAPTER 5 THE SHOT: CINEMATOGRAPHY  PAGE 6 TB-5 |  PAGE 1 2013 by McGraw-Hill Education. This is proprietary material solely for authorized instructor use. Not authorized for sale or distribution in any manner. This document may not be copied, scanned, duplicated, forwarded, distributed, or posted on a website, in whole or part. 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