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Activities
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Film
Knowledge
On a 35mm release print, the optical
sound track is placed:
The optical, or analog sound track is
printed inside the perforations on a
release print, right next to the picture.
There are some digital sound tracks that
are printed outside and/or between the
perfs.
A polarizing filter has about a two
stop light loss when rotated to:
The polarizing filter reduces the
light regardless of which position it is
rotated to.
In a video camera, the beam splitter
sends light to:
The beam splitter is the device that
splits the light coming through the lens
and sends it to red, green, and blue
chips.
Faster films have slightly more
contrast than slower films.
Faster films tend to have slightly
less contrast than their slower
counterparts.
External focus lenses:
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.
T-stops are calibrated for:
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.
Light falls off by:
a. Light coming out of a lamp
is reduced by half each time the
distance from the lamp is doubled.
Gamma relates to:
Gamma is the technical
measurement of contrast in a film
stock. It is found by looking at
the characteristic curve, or the D
log E curve, of a particular film
stock.
A 1/3" chip video camera
has less depth of field than a
2/3" chip camera.
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.
10 seconds of drop frame time
code is longer than 10 seconds of
real time.
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. 10
seconds of drop frame time code is
longer that 10 seconds of real
time as drop frame spec drops two
frames per minute. That means that
time errors accumulate for about
30 seconds, then are corrected
for. At 10 seconds, the time code
is out of sync.
A waveform monitor reads:
A waveform monitor is
basically an electronic light
meter, reading the amount of
light a video camera sees.
Filters transmit:
Filters transmit their own
color, ie a red filter will
transmit red to the negative
and block cyan, its opposite.
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.
Minus green gel is:
Minus green gel is magenta
in color and is used to
correct the color temperature
of various lighting units,
including fluorescent.
To warm an image,
use an:
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.
Collimation
refers to:
Collimation is
the setting of the
distance from the
lens to the camera.
That distance is
called flange focal
distance.
A bazooka base:
A bazooka base
is similar to a
tripod, except it is
designed as a single
tube about 6"
in diameter. It sits
on a low, 3-legged
base and generally
has a fluid head or
geared head on top.
The camera is then
attached to the
head.
CTO is cooler
than 85.
False. Color
Temperature Orange
gel is slightly
warmer than the
standard 85
correction gel.
Removing a
fresnel lens from a
lamp:
Removing the
fresnel lens from a
lamp does not
decrease its light
output, it decreases
its throw. That is
to say, close to the
lamp, the light
level increases, but
without the focusing
effect of the lens,
the light is spread
over a wider area,
so it falls off much
more rapidly.
Super-35 is
generally
projected as:
At some point
in the post
production process
a Super-35
negative is run
through an optical
process that
squeezes the image
and moves it to
make room on the
print for a sound
track. The print
is then projected
with an anamorphic
lens on the
projector.
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Film Knowledge
F-stops relate to:
The f-stop is the size of the lens opening, derived mathematically based
on the focal length of the lens and the optical diameter.
An ND.3 filter reduces the light by:
Neutral density filters reduce the amount of light passing through
them without effecting color temperature. An ND.3 filter reduces the
light by one f-stop, an ND.6 filter by two stops, and an ND.9 filter
cuts the light by three stops.
What does not affect depth of field?
Depth of field, or the area in front of the lens that is
considered in acceptable focus, is controlled by focal
length, aperture, and distance from the subject.
For slow motion, a film camera would run:
Film projection (in the US) is at 24 frames per
second. Real time action is shot at 24fps and projected
back at the same speed. To record slow motion, the camera
is run at a frame rate higher than 24fps, then the print
is projected at 24fps, appearing to stretch the live
action over a longer period of time.
Incident meters read light that:
Incident light is light that falls on a subject and is
measured by a light meter aimed at the light source.
Reflected light is light that bounces off a subject.
Regular-16mm image area is larger than the Super-16mm
image area.
The Super-16 image area on the negative is larger than
the Regular-16 image area. The Super-16 format records
part of the picture in the area that, on Regular-16,
normally has the sound track.
Super 16 uses the area on the film reserved
for:
The Super-16 format records part of the
picture in the area that, on Regular-16, normally
has the sound track, making the image size bigger
but preventing a sound track from ever being
incorporated on the film. This makes Super-16 an
intermediate format only. It must be transferred
to video or printed on 35mm in order to be
screened with sound.
HMI light is balanced to match:
HMI lights are generally the same color
as daylight. They can be used with tungsten
film by putting an orange gel in front of
the lamp.
An answer print is made from:
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.
If your timing lights for a shot are
22-28-19, to make the scene bluer you
would:
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.
Diffusion material creates
softer light when placed
closer to a light source.
Diffusion material (216,
opal, tracing paper, silks,
etc.) appears to soften the
light more when moved farther
away from a light source.
The roll bar on
an NTSC TV
photographed with
a film camera will
not move if the
camera:
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.
The
hyperfocal
distance puts
everything in
focus from:
The
hyperfocal
distance is the
point on the
lens focusing
system where
infinity first
comes into
focus. When set
at the
hyperfocal
distance,
everything in
front of the
lens that is
between half the
hyperfocal
distance and
infinity will be
in acceptable
focus.
Who is
responsible
for a shot
being in
focus?
The
Director of
Photography
is
responsible
for a shot
being in
focus. It
may not be
his/her job
to set the
focus, but
it is
certainly
his or her
responsibility.
An HMI with a
magnetic ballast
will flicker at:
An HMI light
using a magnetic
ballast will
appear to flicker
on the negative at
48fps. The
non-flicker speeds
(over 24fps with a
180° shutter
angle) are 30, 40,
and 60. HMI lights
with electronic,
square-wave
ballasts will not
flicker at any
speed.
If your light
meter reads 80
foot candles, to
increase the light
by one stop you
would need:
Like most
things in
photography, foot
candles double and
half to change the
quantity of light
by a stop.
Back focus is
more critical
with:
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.
The key grip is
generally not in
charge of:
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.
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