Killer Film Test

Well I stunk that up good. I refuse to post my score :shocked:

Wow, to many cartoons I guess :thumbdown :huh:
 
Pete Thornton is an ass....like just getting up there once wasnt enough he had to block everyone elses chance...anyway, after like 10 trys i got 307 and 312....maybe later i will try again...i feel like im on a mission to remove that punk ass Pete Thornton from at least one of those spots...what a ball sack....
 
XCheck said:
I got 59 out of 73 on The Workshops Film Skill-level test.
Go DVXUser! :thumbup:
Click to expand...

That was a tough test! And yes, a year ago I would have gotten one right proablly. :lipsrseal

I took it and scored:

Your Score is 44 out of 73. Film Workshops Skill-Level Three. Damn, 1 Point away from Level Four. :cheesy:

Thank you DVXUSER (And Barry Green)

The ones I missed are:

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3. Depth of Field increases with a:
b. Depth of field, or the area in front of the lens which is in acceptable focus, increases with wider lenses, smaller lens apertures, and greater distance to the subject.
8. Faster films have slightly more grain than slower films.
a. In order to make 'faster' film (film that is more sensitive to light than 'slower' film) larger particles of silver are used. These silver particles show up on the screen as increased grain.
17. An upside-down slate indicates:
b. An upside down slate indicates a clap (or sound marker) at the end of the take. It is also used to correctly identify a take that was incorrectly slated at the head.
26. An answer print is made from:
c. An answer print is made from the original negative and is used for color timing purposes. Once the color is approved, an interpositive is made from the same original negative. Internegatives are then made from the interpositive and release prints are made from the internegatives.
27. If your timing lights for a shot are 22-28-19, to make the scene bluer you would:
c. The timing lights represent the density of the red, green, and blue colors in a print made from a negative. To increase a particular color you reduce it's associated timing number.
30. If your incident meter reads f8 in front of a white card, what will it read if the card is changed to black?
b. The incident meter reads the light that falls on it, It would be pointing at the light source, not the white or black card, so it wouldn't matter what color the card was.
32. Faster films have slightly more contrast than slower films.
b. Faster films tend to have slightly less contrast than their slower counterparts.
34. Flashing is:
a. Flashing is the technique of exposing the film to a very small amount of light before processing (either before or after it has been exposed in the camera). The process effects the amount of detail seen in the shadow areas. Prints and intermediate films can also be flashed.
35. External focus lenses:
b. Older style external focus lenses tend to breathe, or change apparent focal length, when the focus ring is moved. This problem is greatly reduced in lenses that are designed with internally focusing elements.
36. T-stops are calibrated for:
a. F-stops are derived mathematically. T-stops are marked on the lens by the manufacturer and take into account the light that is absorbed by the elements in the lens. Using T-stops means that every lens will transmit the same amount of light to the film when set at the same T-stop marking.
40. A 1/3" chip video camera has less depth of field than a 2/3" chip camera.
b. This is false. The smaller chip camera has more depth of field than the larger chip because the smaller chip uses a wider lens to accomplish the same field of view. Since wider lenses have more depth of field than their longer counterparts, the smaller chip camera has more depth of field for a given angle of view.
41. 10 seconds of drop frame time code is longer than 10 seconds of real time.
b. Drop frame time code was developed to make time code the exact same time as real time. Non-drop-frame time code runs slightly longer than real time.
44. How long does it take to shoot 15 seconds of screen time at 48fps?
a. At 48 frames per second, the camera is running twice as fast as the projector will, thus live action will go by at half the speed of real time.
45. Diffusion material creates softer light when placed closer to a light source.
b. Diffusion material (216, opal, tracing paper, silks, etc.) appears to soften the light more when moved farther away from a light source.
47. EV numbers change at a rate of:
a. EV, or exposure value, numbers are a scale used by light meters. Each EV number represents one f-stop.
48. Minus green gel is:
b. Minus green gel is magenta in color and is used to correct the color temperature of various lighting units, including fluorescent.
49. Dimming a light:
a. Dimming a light, or reducing the voltage it gets, causes it to burn at a lower color temperature, and thus it appears warmer, or redder.
50. A 110-volt 2K fresnel needs approximately:
b. A 2K lamp is 2000 watts, and draws about 20 amps.
51. To convert a camera from super-16 to regular-16 the lens must:
b. When using Super-16, the picture are of the negative is a little bit wider than Regular-16, so the optical center of the lens won't line up with the center of the negative unless the lens is moved slightly toward the area formerly reserved for the sound track.
54. To warm an image, use an:
a. The 81 series of filters are orange and warm an image. The 82's are blue and cool off an image. ND, or neutral density filters, have no effect on color temperature.
58. Removing a fresnel lens from a lamp:
a. Removing the lens from a fresnel lamp dramatically increases the sharpness of the light but reduces its output.
59. 5274 film has more latitude that 7274.
a. This is true when seen on a screen, and has to do with the increased magnification required of the smaller 16mm negative. It is a bit of a trick question, however, because the film emulsions are identical.
63. Back focus is more critical with:
a. Back focus is the opposite of depth of field; depth of field is more critical with long lenses, while back focus (the are that is in focus behind the lens) is more critical with wide lenses.
64. The key grip is generally not in charge of:
b. The key grip is in charge of camera supports (like parallels, or scaffolding) and is generally the person in charge of safety on a set. The gaffer is in charge of, among other things, the lights and light stands.
65. The roll bar on an NTSC TV photographed with a film camera will not move if the camera:
c. Although it won't make it disappear, a 144° shutter angle at 24 fps will cause the roll bar on an NTSC television monitor to stop moving.
68. 16mm film has more depth of field than 35mm film because of:
a. 16mm cameras use a wider lens to accomplish the same field of view as a 35mm camera. Since wider lenses have more depth of field than their longer counterparts, the smaller, 16mm camera has to use lenses that have more depth of field for a given angle of view.

69. Anti-halation backings:
b. Anti-halation backing is a dark coating on the film that prevents light from bouncing off the film's base back into the light-sensitive emulsions. The anti-halation backing is removed during processing.

71. Who's job is it to get a shot in focus?
a. The first camera assistant, sometimes referred to the 'focus-puller', has the job of keeping the shot in focus.

73. Which of the following positions are not below the line?
c. Below the line refers to the technical people in a feature film budget. The director, producer, and actors are above the line, the DP, Gaffer, Grip, etc. are below the line.
 
140. To defend my score, I got buzzed out on the first one because I thought I was going to HEAR a movie SCORE. I'm out of breath.
 
162. Would have been higher, but I clicked one wrong answer by accident. Got distracted by my wife in the other room.

Scott
 
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