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Quiz about Film School in Ten Questions
Quiz about Film School in Ten Questions

Film School in Ten Questions Trivia Quiz


I'm shooting a movie on film...yes, that elusive four letter word that filmmakers salivate to. Can you help me with everything from planning to the final editing?

A multiple-choice quiz by eggman1020. Estimated time: 6 mins.
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Author
eggman1020
Time
6 mins
Type
Multiple Choice
Quiz #
318,401
Updated
Dec 03 21
# Qns
10
Difficulty
Average
Avg Score
7 / 10
Plays
556
Awards
Top 20% Quiz
Last 3 plays: Guest 76 (7/10), Guest 94 (9/10), mchem (9/10).
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Question 1 of 10
1. As movie film is rather expensive to work with and our budget is minuscule, we need to know exactly what type of film we need for the given shot. Looking at the script, our shoot is to be filmed primarily in low, indoor light. Knowing this, what two details should we look at first in our film stock? Hint


Question 2 of 10
2. Okay, we've ordered our film. That's one big mark on our checklist of things to do before we start shooting our film. Next, we need to make sure we have at least two of these contraptions on every scene, in the case one breaks down. Without it, we run the risk of over or underexposing our expensive new film. What is it that is so darn important to making sure our film looks good? Hint


Question 3 of 10
3. In our film, we want to record dialogue between the two actors, but our film does not record audio; it will have to be recorded separately and synced in post-production. This seems an easy enough fix, but how are we going to make sure we have the right take and the right audio perfectly, down to the 1/24th of a second we need, in sync? Hint


Question 4 of 10
4. Knowing we are shooting sound with our film, there is one other audio factor we must look at. Film running through a camera is very loud. While to some it is a pleasing sound, in the context of a film it is completely unacceptable. How do we quiet the camera's motors while running the film? Hint


Question 5 of 10
5. Now comes the task of renting our camera from one of the rental facilities in the area. Calling around, we want to double check that we get a crystal-sync camera. A crystal-sync motor runs the film through the camera at exactly 24 fps, all the time.


Question 6 of 10
6. We're almost ready to shoot. We only have a few more items on our checklist to go over before we can make our way to Sundance with our finished masterpiece. While our heads are in the clouds towards our future success, which of the following can we NOT afford to forget? Hint


Question 7 of 10
7. All of our planning has paid off and we had a successful shoot. The actor's performances were mesmerizing, the dolly moved just smooth enough to cut butter and the gentle, muffled sound of the film gate left us all with smiles. What is our next step? Hint


Question 8 of 10
8. We want to edit our masterpiece on our fancy computer. Like Franz Listz, we want to "tickle the ivories" and create beautiful music in the edit room, but if film is "analogue" and a computer is "digital," how can we expect to accomplish this conversion and edit on a computer based, non-linear editing system? Hint


Question 9 of 10
9. After telling the actors their motivations and shooting all of our footage, we do a sneaky move and change the whole meaning of the film. Rather than an award winning coming-of-age film, we make it into a "B-movie" scary film. We accomplish this with discretely shot "b-roll" and CGI artists to create our monster on screen. What is the best method to prepare the film we have already shot for the artists? Hint


Question 10 of 10
10. All of our hard work is done. We've shot our film, added all sorts of effects and are ready to create our master to print to send to the distributor. The only problem we have is our editing time base is 29.97 on the computer and the master print will need to be at exactly 24 fps. What is our next step? Hint



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Most Recent Scores
Mar 27 2024 : Guest 76: 7/10
Mar 17 2024 : Guest 94: 9/10
Mar 08 2024 : mchem: 9/10
Feb 14 2024 : Guest 99: 9/10
Jan 29 2024 : Guest 174: 5/10

Score Distribution

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Quiz Answer Key and Fun Facts
1. As movie film is rather expensive to work with and our budget is minuscule, we need to know exactly what type of film we need for the given shot. Looking at the script, our shoot is to be filmed primarily in low, indoor light. Knowing this, what two details should we look at first in our film stock?

Answer: The speed of the film and the color temperature

When purchasing new film, we would want to know our requirements for the shoot. In our case, "low, indoor light" would tell us we need a fast stock that will pick up well in low light and film that is balanced to indoor, tungsten lighting.

Similar to the still photography aspect of film, the type of movie film is designated by its ASA rating or film speed. Normally, stocks range from 100 ASA to 800 ASA, but depending on the conditions of shooting and the manufacturer, these numbers can be lower or higher. A good rule to use, is the lower the lighting conditions, the higher the ASA, or film speed. In our fictitious example, we might select an ASA of around 500.

While seemingly not as important, the color temperature requires a great deal of forethought to capture the best images. Tungsten film, using an 85 filter, can be color corrected to use outdoors. Daylight balanced film, using an 80 filter can be used with tungsten lights. But if we use the wrong color stock, and don't have a filter, the results can be less than desirable.
2. Okay, we've ordered our film. That's one big mark on our checklist of things to do before we start shooting our film. Next, we need to make sure we have at least two of these contraptions on every scene, in the case one breaks down. Without it, we run the risk of over or underexposing our expensive new film. What is it that is so darn important to making sure our film looks good?

Answer: A light meter

A light meter is extremely crucial to shooting beautiful images. Basically there are two settings on the average meter: the ASA of the film we are shooting and the frame rate we are shooting.

For our fictitious example, we are shooting ASA 500 film at a normal speed of 24 frames per second. We would adjust our light meter to these two settings and begin taking our readings. For our "low, indoor light" scene, we are going to take incidental readings off our actor or actress's face and set our aperture, or F-stop, to expose the face. This ensures the actor or actress is properly exposed on the film.
3. In our film, we want to record dialogue between the two actors, but our film does not record audio; it will have to be recorded separately and synced in post-production. This seems an easy enough fix, but how are we going to make sure we have the right take and the right audio perfectly, down to the 1/24th of a second we need, in sync?

Answer: Use a clapper

Not to be confused with the life-changing product from the eighties, the clapper is used when shooting film to sync audio and video down to the exact frame. There are basic clappers and there are fancy, electronic clappers that sync with the "roll camera" button on a film camera, but the basis remains the same.

A crew member writes the take, scene and any other pertinent info on the board and holds the clapper in front the camera's view as the camera starts rolling. He or she usually says what take number it is and lets the top part of the clapper fall and strike the bottom part, giving a common sync point for the audio and video.
4. Knowing we are shooting sound with our film, there is one other audio factor we must look at. Film running through a camera is very loud. While to some it is a pleasing sound, in the context of a film it is completely unacceptable. How do we quiet the camera's motors while running the film?

Answer: Use a Barney

I'm not sure where the name came from, but a barney is used to quiet the hum of the motors and the film passing through the camera's gate. Usually, Barney's are made of a soft material and wrapped snugly over the magazine of the camera.
5. Now comes the task of renting our camera from one of the rental facilities in the area. Calling around, we want to double check that we get a crystal-sync camera. A crystal-sync motor runs the film through the camera at exactly 24 fps, all the time.

Answer: True

Crystal-sync is on most every film camera in film making. Though there are some 8mm and 16mm wind-up cameras available that with the twist of a crank and tightening of an internal spring, can run film for a given amount of time through the camera.

Crystal sync matters the most when dialogue is shot. Since the audio is filmed on a separate piece of equipment, both have to run at exactly the same frame rate to ensure the audio will match up with the video and not gradually drift apart.
6. We're almost ready to shoot. We only have a few more items on our checklist to go over before we can make our way to Sundance with our finished masterpiece. While our heads are in the clouds towards our future success, which of the following can we NOT afford to forget?

Answer: All are important and we cannot afford to forget any of them

Like a puzzle of a house of cards, a successful shoot requires a number of pieces in the right place to make the picture come out; otherwise all we have is some unexposed film and rising tempers.
7. All of our planning has paid off and we had a successful shoot. The actor's performances were mesmerizing, the dolly moved just smooth enough to cut butter and the gentle, muffled sound of the film gate left us all with smiles. What is our next step?

Answer: Get the film processed

This is an important aspect to shooting on film. Without processing the film, we only have a paperweight to show for all of our money, time and expelled profanity. There are differing ideas of how long to wait after film is shot to process it, but most of what I have heard is not more than six months after the fact.

Processing fees can range from a standard processing, to a special processing that uses one or more extra ingredients, or leaves out a few ingredients in the processor's witch's brew. Bleach bypassing is a popular processing technique that skips the bleaching of the film, retaining the silver emulsion and thus creating a semi color saturated image. A shining example of this technique was the film "Saving Private Ryan."
8. We want to edit our masterpiece on our fancy computer. Like Franz Listz, we want to "tickle the ivories" and create beautiful music in the edit room, but if film is "analogue" and a computer is "digital," how can we expect to accomplish this conversion and edit on a computer based, non-linear editing system?

Answer: Using a telecine

A telecine is a marvelous, yet dumbfounding process that transfers film shot at 24 frames-per-second to a digital source tape with a frame rate of 29.97 frames-per-second. How the inventor thought of it is beyond me, but the process involves what is called a 3:2:2 pull down, meaning every four frames of film is converted to five frames of video.

For the true trivia fan, what this really means is that film frames one and two are split into two video fields each, occupying video frame one (both fields), and field two of video frame three and field one of video frame four, respectively. Film frames two and four occupy three video fields, or one and a half video frames. These correspond to video frame two and field one of frame three; and also field two of video frame four and all of frame five. Did I lose you? If so, follow the link below to see a visual representation of the concept.

http://www.zerocut.com/tech/pulldown.html
9. After telling the actors their motivations and shooting all of our footage, we do a sneaky move and change the whole meaning of the film. Rather than an award winning coming-of-age film, we make it into a "B-movie" scary film. We accomplish this with discretely shot "b-roll" and CGI artists to create our monster on screen. What is the best method to prepare the film we have already shot for the artists?

Answer: Scan the film at a higher resolution

Some may argue, but the best path forward is to scan the film at a higher resolution.

A transferred tape from a telecine usually has a resolution of 720 w x 486 h pixels, the same standard as NTSC broadcasts. For our special effects artists, we want to give them at least a 2k plate to work with, meaning the horizontal resolution is 2048 pixels wide.

The height of the frame will vary depending on our aspect ratio, but a 4:3 image scanned at 2k equals 2048 w x 1540 h. This is factored by a 4:3 image having a 1.33 aspect ratio, meaning the width is 1.33 times greater than the height. Taking that example one step further, the NTSC standard for High Definition is 1920 w x 1080 h. Divide 1920 by 1080 and it gives you 1.77, with that being the aspect ratio. It also conveniently equals a 16 x 9 ratio, which is the street name for a high definition TV set. Intriguing, eh?
10. All of our hard work is done. We've shot our film, added all sorts of effects and are ready to create our master to print to send to the distributor. The only problem we have is our editing time base is 29.97 on the computer and the master print will need to be at exactly 24 fps. What is our next step?

Answer: A 3:2:2 removal and re-edit the film using our original negatives to get the best possible quality

A 3:2:2 removal will remove the telecine in the original footage and bring everything back to 24 fps. Not only will it fix the frame rate, but by re-editing our original negatives, we will be enhancing the quality. Some color is lost during the telecine process and by transferring it to a computer for editing.

This process will be considerably easier because when the telecine was done, the film feet and frames were etched into the footage. Now we can cut and splice the exact frames from the original to match the edited version.
Source: Author eggman1020

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