Film prod quiz

Accosiate professor, undergrad program director, cinema, undergraduate area head

Michael Yaroshevsky

assistant professor, cinema

Mariana Marta Milhorat

professor (film production), cinema (4 names)

Louise Lamar, Richard Kerr, Daniel Cross, Roy Cross

Graduate Program Director in Cinematic Arts, Associate Professor, Film Production Program, The Mel Hoppenheim School of Cinema, graduate area head

Guylaine Dionne

accostate professor (film prod), cinema

Jean-Claude Bustros

assistant professor, LTA, cinema

Sofia Brockenshire

Chair

Martin Lefebre

Department administrator

Ria Rombough

Department assistants

Andre Dubois and Maggie Hallam

Frontline assistant

Vanessa Pizzichemi

Technical officer

Emmet Henchey

Production coordinator

Andrew Lima

equipment depot clerk

Charlene Pommerehnke

Post production coordinator

Marcus von Holtzendorff

Sound technical coordinator

Tim Horlor

three aspect ratios

academy ratio (1.33:1 or 4:3)

widescreen (1.85:1)

cinemascope (2:35:1)

aspects ratios affect film’s tone and visual experience

subjective and objective povs

in a subjective pov, the audience experiences the character’s emotions directly. in objective there is a neutral detached perspective

adapting existing works

must negotiate with rights holders. a step deal allows gradual script development with producer approval. a spec script can be used to pitch a project before rights are obtained

how do lenses and sensors work

camera lens focuses light onto a sensor which captures the image

types of sensors

CMOS (Complementary Metal-Oxide Semiconductor) - common in modern camera

CCD (Charge-Coupled Device) – used in some professional and older cameras

analog broadcasting standards by region and frame rate

NTSC - North America, parts of Asia. common frame rates are 24p, 30p, 60i, 60p

PAL - Uk, Europe, other regions. common frame rates are 25p, 50i, 50p

photosites

light sensitive points on the sensor. more allow for higher resolution. less allow for greater dynamic range, better low light performance and less noise

1.33:1/4:3 aspect ratio

academy ratio found in older films and pre 2000s tv

1.85:1/2.39:1 aspect ratio

common in cinema

frames rates

standard cinematics frame rate is 24fps. higher frame rates creates smoother motion but doesn’t work for every time of film

camera audio

captures audio through built in or external microphones

lens and sensors

lens controls focus brightness and zoom. sensor converts light into digital video signals (most commonly CMOS)

frame size

same as resolution. higher resolution means better quality but larger files

codec and bit/data rate

codecs determine how videos are compressed (H264, AVC, pro res. higher bit rates create better quality but larger files

progressive (p) and interlaced video (i)

progressive captures full frames and are preferred for high quality. interlaced displays alternating scan lines

shutter speed

the time each frame is exposed to light. typically double the frame rate. fast shutter speeds freeze motion. slow shutter speeds create motion blur

gain and iso

gain increases brightness but adds noise and should be kept as low as possible. higher iso allows shooting in low light but introduces noise

gamma and color gamut

control dynamic range. log(s, v, c) profiles capture more detail for colour grading. HLG is designed for HDR video

white balance and AE systems

white balance corrects colour casts ensuring neutral whites.

AE systems automatically adjust exposure based off lighting

shutter angle

how much the light hits the sensor/film per frame

types of lenses

cinestyle (expensive, used in professional cameras), video lenses (found on typical commercial cameras), detachable lenses (can be swapped out, used in video and photography)

prime lesnes can’t zoom in or out and zoom lenses can

focal length

shorter has greater bending power, capturing wider field of view. longer are less bendy and capture a more narrow field of view

wide angle vs telephoto lens

wide angle - more distortion, exaggerated perspective. up close it will distort the background

telephoto lens - compresses space and makes objects appear closer. from far away, it will compress the background.

f-stop and aperture

the ratio of the focal length to the lens diameter. this controls how much light the lens can gather. larger aperture means=more light enters, smaller stop number.

depth of field

the area of an image that is in focus. shallow dof means smaller area is in focus. can be adjusted through aperture (preferred, larger aperture means more shallow dof ) or shutter speed

colour temperature

level of heat a light source needs to emit to glow a specific colour shade. measure in kelvin (k). lower temperatures create warmer light and high temperatures produce a more white or cool light

white balancing

different light sources can cast different colour tones and affect how those colours appear on camera. white balancing is adjusting the camera to account for those shifts

types of microphones

shotgun - versatile, used for documentaries. capture sound from a specific source and reject background noise

cardioid microphones - pick up sound from the front and reject it from the sides. best for scenes with multiple talking subjects

lavalier microphone - small wireless mics that can attached to a person often used in dialogue and interviews

setting recording levels

sound recordist’s job is adjusting the volume or gain to achieve best dynamic range without clipping or peaking

soft light vs hard light

hard light - made up of parallel rays creates defined shadows that can outline objects

soft light - rays in multiple directions that create softer diffused shadows

three quarter front light

combination of front and side light that creates more dimensional editing

key light and fill light

key light is the primary source of light which creates shadows on the subject and fill light is used to fill in these shadows and make the lighting less harsh

three point lighting

basic lighting setup which has a key light, fill light, and backlight

what does a sound designer do

creates unique textures or effects for the sound