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VID 1 class
midterm
| Question | Answer |
|---|---|
| the space left in front of an object or a person moving toward the edge of the screen | leadroom |
| imaginary line extending from the lens to the horizon | z-axis |
| Portion of a scene visible through a particular lens | field of view |
| Mentally filling in spaces of an incomplete picture | closure |
| The space left in front of a person looking toward the screen edge | nose room |
| To minimize camera wobbles when dollying with a studio camera, or walking with an EFP camera, the zoom lens should be in a | wide angle position |
| After having calibrated the zoom lens, you need to preset it again | Whenever camera or object moves relative to the other |
| During a test recording with your ENG/EFP camera, you should | Make sure all camera features are working |
| When panning with a shoulder moutned ENG/EFP camera, you should point your knees toward? | The end point of the pan. |
| When operating a camera in the field, you should always have the camera mic | on |
| When on an ENG assignment, you should record ambient sound | always |
| To calibrate a zoom lens | Zoom in, focus, zoom out to shot |
| You should lock the camera mounting head | every time you leave it |
| To achieve critical focus when operating an HDTV studio camera | you should engage the focus-assist feature |
| When loading a VTR cassette or memory card for recording | the safety tab should be in place or in the closed position. |
| The Leveling bowl | helps maintain a camera in a horizontal position. |
| The spreader | keeps the tripods legs from spreading too far. |
| When trying to preserve battery power | you switch off both the foldout screen and the image stabilizer. |
| When dollying with a studio camera | or walking with an EFP camera, the Depth of Field should be as great as possible. |
| Process that produces the EDL, or a videotape not used for braodcast, or a low resolution. | Off-line editing |
| A bumped down copy of all source recording with the time code keyed over each frame. | window dub |
| Gives each television frame a specific address | time code |
| A microphone whose sound pickup device consists of a thin band that vibrates with the sound pressures within a magnetic field | ribbon mic |
| A microphone whose diaphragm consists of a plate that vibrates | condenscor mic |
| a microphone that can pick up sounds better from one direction, than from sides or | uni-directional |
| The territory around the microphone within whcih the microphone can "hear well" or has optimal sound pickup | pick up pattern |
| a microphone whose sound pickup device consists of a diaphragm that is attached to a moveable coil | dynamic |
| The range of frequencies a microphone can hear and reproduce | frequency response |
| a specific pickup pattern of unidirectional microphones | cardiod |
| The measure of a microphones ability to hear equally well over its entire frequency range | flat response |
| a microphone that can pick up sounds equally well from all directions | omnodirectional |
| normally shotguns microphones have | an extremely directional pickup patterns |
| select the 3 types of microphones | condenser, ribbon, dynamic |
| to eliminate sudden breath pops when speaking close to the microphone, we use a | pop filter |
| faraway speech sounds are picked up best with a | shotgun mic |
| the hand microphones used in ENG normally have an | omnidirectional microphone |
| the element in a microphone that converts sound waves into an electrical energy signal is the | sound-generating element |
| in general, dynamic microphones are ______ than ribbon microphones | more rugged |
| the interval between two transitions | shot |
| a bumped-down copy of all source recordings with the time code keyed over each frame | window dub |
| recapturing the assembled shots at a higher resolution or creating a high-quality edit master tape | editing online |
| process that produces the EDL, a videotape not used for broadcast, or low-resolution capture | offline editing |
| transferring of video and audio information to a computer hard drive | capturing |
| allows instant random access to and easy rearrangement of shots | non linear editing |
| a shot or brief sequence of shots captured on the hard drive | clips |
| audio precedes the shot or bleeds into the next one | split edit |
| the recording devices that hold the recorded material | source media |
| a list of all consecutive shots recorded during a production with in and out time code numbers and other information | video record log |
| a device that provides essential production information recorded at the beginning of each take | slate |
| the synchronization of speech with the lip movements of the speaker in postproduction | ADR |
| gives each video frame a specific address | time code |
| nonlinear systems allow | disk-based storage |
| the operational principle of nonlinear editing is | rearranging audio and video data files |
| the audio/video capture from a camcorder to a hard drive is normally done via | firewire |
| the three major components of a nonlinear editing system | source media |
| the time code frames and seconds roll over at | 29 frames, 59 seconds |
| the VR log helps | organize the source material and locates specific shots during the editing process |
| audio transcriptions are important especially when editing | an interview |
| in nonlinear editing, the time line refers to the | video and audio tracks with their clips |
| when importing source footage into the NLE system for offlien editing you need to determine the | codec |
| Traditional script with audio information in the rihgt column and video information in the left | two-column A/V script |
| Traditional composition of a play | classical dramaturgy |
| Program content intended to be learned by viewers | goal directed information |
| lists the items that have to be shown on-camera and their main features | fact sheet |
| used to describe a show for which the dialogue is indicated but not complete written out | partial two-column A/V script |
| the lineup of event details | show format |
| traditional format for dramatic television and motion picture scripts | single-column drama scipt |
| the rising as well as the fallin action can include a number of crises | True |
| The process message is especially useful for programs that contain primarily goal-directed information | True |
| The standard 2-column A/V script shows the video information on the left and the audio information on the right | True |
| The script is an effective communication | True |
| In the resolution phase, the hero is always condemned | False |
| The fact sheet and the show fromat have identical script formats | False |
| The process message is especially useful for programs that contain primarily goal-directed information | True |
| The difference between a standard two-column a/v script format and a partial two column av script is that the latter contains no video information | False |
| The rising as well as the falling action can include a number of crises | True |
| The script is an effective communication device for all three production phases | True |
| The standard two-column a/v script shows the video information on the left side and hte audio information on the right | True |
| A television standard with at least twice the picture detail of standard television | HDTV |
| Delivering and receiving digital video as continuous data | Streaming |
| AS system in which the electron beam starts scanning line 1, line 2, then line 3 and so forth until allines are scanned | Progressive Scanning |
| The scanning of all odd-numbered scanning lines and the subsequent scanning of all even-numbered lines? | Interlaced scanning |
| The temporary rearrangement or elimination of redundant picture information for easier storage and signal transport. | Compression |
| The transfer of files sent in data packets | Downloading |
| One half of a complete scanning field | Field |
| A complete interlaced scanning cycle | Frame |
| The basic colors of television | RGB |
| Progressive HDTV scanning system | 720p |
| A two-field interlaced scanning system for HDTV | 1080 i |
| The width to height proportion of a television screen | Aspect ratio |
| Stands for compressing and decompressing digital data | Codec |
| The number of complete frames per second | Refresh Rate |
| Signal that fluctuates like the original stimulus | ANalogue |
| Digital television can use either progressive or interlaced scanning | True |
| An advantage that digital television has is | Its picture does not deteriorate over numerous generations |
| The basic televison image is created by activating pixels that | arrange in a stack of vertical and horizontal lines |
| In progressive scanning, each cycle produces a | frame |
| The scanning of a complete NTSC frame takes | 1/30 of a second |
| The 4k digital cinema means that | each horizontal line consists of 4,000 or more pixels |
| All other factors being equal, the highest quality hdtv pictures are delivered by the | 1080i system |
| In progressive scanning | each line is scanned in a top to bottom sequence |
| The distance from the optical center of the lens to the front surface of the camera imaging device | focal length |
| the area in which all objects located at different distances from the camera, appear sharp and clear | depth of field |
| lens opening measured in F-stops | Aperature |
| The general lens focal length that approximates the spatial relationships of normal vison | normal lens |
| variable focal length lens, which can change from a wide shot to a close up and vice versa in one continuous movement | zoom lens |
| The extent of a scene that is visible through a particular lens | field of view |
| to makea lens keep focus throughout the zoom | calibrate |
| a lesn that at its maximum aperature permits a relatively small amount of light to enter and pass through | slow lens |
| same as short focal length lens, which gives a broad view of a scene | wide angle lens |
| the calibration on the lens indicating the diaphragm opening- and therefore the amount of light passing through the lens | F-stop |
| A lens that at its maximum aperature permits a relatively great amount o flight to enter and pass through | fast lens |
| Telephoto prime lenses, or zoom lenses in a narrow-angle position, have a relatively ____ field of view | shallow |
| In a digital zoom, the focal length is adjusted by | dropping the image while magnifying it |
| A wide angle lens has a ____ focal length | short |
| A 15x zoom lens means that you can increase the focal length ____ in one continuous zoom | 15 times |
| Large apertures contribute to a ____ depth of field | shallow |
| The area in which all objects, although located at different distances from the camera, are in focus is called | depth of focus |
| All digital video recorders that record or store informaiton on a hard driev or read/write optical disc | tapeless base corrector |
| a list of shots taken during the recording | field log |
| a solid state ready/write digital storage media that has no moving parts | memory card |
| A video signal in which luminance, chrominance, and sync information are encoded into a single signal | composite |
| a system in which the luminance and the R-Y- and B-Y signals are kept separate throughout the video-recording process | Y/color difference |
| A compressinon system generally used for digital television | MPGE-2 |
| Reducing the amount of digital data for recording or transmission | compression |
| A video compression method mostly for still pictures | JPEGS |
| A system in which the luminance and chrominance signals are kept separate during the encoding and decoding processes but are recorded together. | Y/C component |
| Digital recording systems are | linear or nonlinear recording systems |
| In contrast to digital recordings, analog recordings _____ from generation to generation | experience quality loss |
| Digital video signals can be recorded | on tape as well as disk |
| All tapeless systems | can record digital information only |
| You can use a 1/4 inch DV mini cassette for recording | standard and HDTV signals |
| The best color fidelity is achieved through a | 4:2:2 sampling ratio |
| The field log is normally kept by the | VR operator |
| To protect a cassette recording from being accidentally erased, t he cassette taab | must be removed or in the open position |
Created by:
symtex