Chapter 05
The Shot: Cinematography
1. Technicolor was notable for
2. Tinting and toning are
3. The projection speed for sound films was first standardized at
4. Which of the following is NOT affected by the focal length of the camera lens?
5. A zoom lens is a
6. “Depth of field” refers to
7. Deep-focus cinematography was popularized in 1940s in part by
9. “Contrast” refers to
10. Which of the following is NOT a type of composite filming?
11. Slices of glass or gelatin placed in front of the lens of a camera to prevent certain frequencies of light from reaching the
film are called
12. Which of the following describes a type of widescreen image?
13. An anamorphic process
14. In cinematography, “mask” refers to
15. In a canted camera position, objects on the screen appear
16. Terms for camera distance, such as “medium shot,” are based on
17. Which of the following is NOT a standard term for a type of mobile framing?
18. “Reframing” refers to
19. A central characteristic of the cinematography in Jean Renoir’s Grand Illusion is
20. The form of Michael Snow’s Wavelength is structured around which type of mobile framing?
21. Which group of filmmakers is typically associated with the long take?
22. The speed of motion presented on-screen depends on
23. A digital colorist adjusting an image’s tonality in postproduction has the ability to
24. A moving circular mask that opens to reveal a scene or that closes to conceal a scene is called
25. Viewers are most aware of off-screen space when
26. A medium shot frames the body
27. In a crane shot, the camera moves
28. What type of camera movement swivels the camera horizontally on a vertical axis?
29. Shots in which a filmmaker prefers bumpy over smooth camera movements are usually created
31. A low-contrast image displays a wide range of grays.
32. The range of tonalities in the image is most crucially affected by the exposure of the image during filming.
33. Slow motion is achieved by decreasing the number of frames per second shot.
34. Wide-angle lenses are also referred to as “telephoto” lenses.
35. A long-focal-length lens tends to squash the planes of action together, reducing the impression of depth.
36. “Racking focus” refers to adjusting the camera to change the plane that is in focus.
37. Digital grading allows for altering the color of shots in postproduction.
38. The Lumière brothers’ early camera was too bulky and heavy to take on location, leading them to shoot exclusively in a
film studio.
39. Rear projection seldom creates convincing depth cues in the frame.
40. A zoom lens allows filmmakers to magnify or minimize objects without changing perspective relationships in the shot.
41. A “long take” is a shot taken with the camera at a considerable distance away from the main subject of the shot.
42. “Day-for-night” technique involves shooting outdoor day scenes at night.
43. “Perspective” refers to a set of spatial relations around a particular viewing point.
44. If a wide-angle lens and a telephoto lens photograph the same scene, the perspective relations in the images they capture
will likely be the same.
45. Today telephoto lenses, sometimes called long lenses, are usually at least 100 mm in length.
46. The most realistic type of special effect is superimposition.
47. Current 3-D technology creates live-action images with all of the volume and solidity of the real world by always using
extreme depth of field.
48. “Aspect ratio” is the ratio of frame width to frame height.
49. In an extreme long shot, a human figure appears tiny or is lost to view.
50. Action involving digital special effects must be shot in front of a blue or green screen.
51. Describe some of the tools of mobile framing available to the cinematographer and some of the artistic functions they
can serve. Give some specific examples from FilmArt, the lecture, and any film seen for this class.
52. Describe how computer-generated imagery was integrated into all stages of production in Peter Jackson’s film adaptation
of J. R. R. Tolkien’s The Lord of the Rings.
