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| The _________ may be hired to create a film or may find the script itself and bring it to a production company for funding. |
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| The _______ takes the producer’s vision of the script and translates that vision into the film through the actors and the sets. |
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| The _________ is hired to capture the actual images that the producer and director want for the finished film, and is in charge of the film crew. |
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| The ____________ is responsible for ensuring that the lighting on the actors and sets is correct for the shots. |
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| The ______________ is the head of the art department, and is responsible for the visual appearance of the set or sets for the film. |
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| The _________ supervises the actual construction of the set. |
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| This person is the gaffer’s number-one assistant. |
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| This person is the chief set electrician. |
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| This person is a general laborer on the set. |
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| This person is the head of the grip department. |
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| This person is the key grip’s number-one assistant. |
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| This person is an electrical laborer on the set. |
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| This person records the dialogue and other sounds from the set for the film. |
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| _________ refers to the size and dimension of figures and forms relative to a specific unit of measure. |
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| ______________ are built of all sets prior to the construction of the final sets. |
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| _____________ are models built for use in the actual filming. |
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| With _________ we can set the mood, evoke emotion, tell time, and enhance the subject matter. |
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| The ____________ establishes the directionality and source of motivation for the scene. |
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| The ____________is used, when necessary, to create a desirable lighting ratio on the actor’s face. |
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| The ___________ is used to separate the actors from the background. |
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| The standard frame rate for motion picture photography is _____frames per second. |
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| The _______ gathers the light and project the images in front of the camera onto the film gate for exposure. |
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| _______ is the distance from the center of the lens to the exposing film, at the film plane. |
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| ____________ is a measurement of how much light is allowed through the lens. |
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| ________ is a device that controls the amount of light through a lens. |
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___________ is simply a more precise f-stop measurement, measured through each
individual lens. |
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| The _________is both literally and figuratively the focal points of the motion picture camera’s mechanical operation. |
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| The ___________ consists of a mirrored, constantly rotating half-disk positioned between the lens and the film gate aperture. |
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| The _________ stores the film both before and after exposure. |
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| The _________ refers to the width of the film stock in use. Cameras are built to work with one format. |
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| Film’s top layer, which captures images, is called the ______________. |
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| _____________ is a number that describes how sensitive the film stock is to light. |
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| The film images get captured onto video in a process called ________. |
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| _________is a digital audio signal that is assigned to a special track of a videotape or audio tape. Its purpose is to label each video frame with a 24-hour reference clock. |
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| When the audio is unusable it must be replaced, using a process called_________. |
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| The process of recording ________ is referred to as “shooting” or “walking.” |
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| When the sound of something doesn’t exist in reality, the sound designer creates _______for these elements from the sounds he or she can record in real life. |
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| When the sound of an animal or other being in a film does not exist in reality, the sound designer must create _________. |
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| ______________ provide the sound of a film’s environment. |
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| Ambiance/Backgrounds (BGs) |
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| _______________ is the process of taking the assembled material from each of the sound elements and synching them to picture. |
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The purpose of ___________ is to make sure elements remain constant and consistent
from shot to shot. |
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