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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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1.Quadruplex was referred to as the “transverse” method of video recording because a.it transferred video to videotape. b.it laid down video tracks perpendicular to the tape’s direction of travel. c.it laid down video tracks in a 45 degree slant on the tape. d.it had four rotating heads. e.Quad was not referred to as the “transverse”.
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1.Another word for the shot transition known as a “cut” is “fade.” True        False 2.A sync generator permits switchers to perform cuts cleanly within the vertical blanking interval. True        False 3.A standard ______  fade’s transition time is: a.1/2 second b.3/4  second c.one second d.1 and 1/2 seconds e.none of the above 4.A “super,” or superimposition, is.
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  11.Once graphic cards are converted to a more easily read form such as 35 mm. slides, the slides will load into a carousel slide projection unit called: a.a multiplexer b.an optical drive c.a roll or scroll d.a slide chain 12.Organic graphics begin as photographs on video camera. True       False 13.A method of displaying CG.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  11.It’s wise to roll five to ten seconds of video footage before and after every shot to provide stable pre-roll control track for analog editing. True        False   12.An interior bridge is: a.A standup placed between two sound bites b.A voice over followed by a sound bite c.A sound bite followed by a voice over d.None.
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  a.Art Card b.Character generator (CG) c.Color contrast d.Computer platform e.Crawl f.Dead border area g.Electronic Still Store (ESS) h.Essential area i.Film chain j.Fonts k.Fox Box l.Frame-store synchronizer m.Graphic Card n.Multiplexer o.Organic Graphics p.Paintbox q.Random access r.Roll (on a GC) s.Safe Title Area t.Scanned Area u.Scroll v.Slide Chain w.Synthetic Graphics x.Telecine Island 26.______ A method of displaying CG output with information entering from the screen’s bottom, continuing up, and exiting the top of the screen. 27.______ A.
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  a.Art Card b.Character generator (CG) c.Color contrast d.Computer platform e.Crawl f.Dead border area g.Electronic Still Store (ESS) h.Essential area i.Film chain j.Fonts k.Fox Box l.Frame-store synchronizer m.Graphic Card n.Multiplexer o.Organic Graphics p.Paintbox q.Random access r.Roll (on a GC) s.Safe Title Area t.Scanned Area u.Scroll v.Slide Chain w.Synthetic Graphics x.Telecine Island Definitions: 16.______ Different type styles used for lettering in graphics. 17.______ That portion of the TV graphic visible on the camera’s viewfinder. 18.______A device permitting video typesetting.
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a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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a.Art Card b.Character generator (CG) c.Color contrast d.Computer platform e.Crawl f.Dead border area g.Electronic Still Store (ESS) h.Essential area i.Film chain j.Fonts k.Fox Box l.Frame-store synchronizer m.Graphic Card n.Multiplexer o.Organic Graphics p.Paintbox q.Random access r.Roll (on a GC) s.Safe Title Area t.Scanned Area u.Scroll v.Slide Chain w.Synthetic Graphics x.Telecine Island 36._______ The portion of a graphic close enough to the center to survive picture cutoff.  All the information in the essential area appears on.
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  11.The typical non-linear editing system includes a built-in character generator. True        False 12.The camera above that is X-ed out a.violated the Griffith Formula b.violated the 180 degree rule c.violated the “prime directive” of editing: cut for a reason d.violated the rule of thirds 13.LS/MS/CU is shorthand for Griffith’s Formula. True        False 14.You begin with an.
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  a.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage i.Cover shot j.Cutaway shot k.Cut-in shot l.Digitizing (footage) m.Edit Master Tape n.EDL (Edit Decision List) o.Frame Accuracy p.Gigabyte q.Insert Editing r.Jog s.Jump Cut t.Laundering An EDL u.Leader v.Master shot w.Neutral screen direction x.NLE y.Nonlinear Editing z.Off-line Editing aa. One-Hundred Eighty (180) Degree Rule bb. On-Line Editing cc. Pad Video dd. Pictorial continuity ee. Playback Tape ff. Pre-roll gg. Punch-and-Crunch Editing hh. Record.
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1.If you stay in the communications business long enough you might be able to avoid being on camera, or even coaching a better performance out of talent. True        False 2.In coaching individual talent, it is not really important to know specific terminology for voice and oncamera delivery. True        False 3.The.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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      a.Anytime Cutaway b.Cable run c.Interior Bridge d.ISO e.Microwave f.A Noddie/Nodder g.Remote Van (or truck) h.Transmission i.Voice-bite-voicer-tag   14.______ Audio, video, AC, intercom stretching from camera sites to the remote van.   15.______ A formula for editing news packages where the reporter begins with a voice over, follows with a sound bite, adds another voice over for additional information and concludes with a.
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  a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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1.An ISO unit provides “another set of eyes and ears.”   True        False   2.Remote vans used for local station live feeds during newscasts typically contain studio-quality cameras fitted with extremely long-focal length zoom lenses.   True        False   3.Obtaining more than general crowd noise at a well-attended sports event requires audio crewpersons equipped.
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  A.    B.                C. 11.Unbalanced lines are better for professional recording than balanced lines. True        False 12.Analog audio signals that do not peak at the 80 percent level at least occasionally on the VU meter a.may have audible background noise b.have OK signal-to-noise ratios c.are always acceptable d.cannot be heard.
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  a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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a.Available light b.Background lights c.Back light d.Barn doors e.Baselight f.The Basic Lighting Triangle g.Broad h.C-Clamp i.Camera Light j.Counterweight Batten k.Contrast ratio l.Cucalorus m.Cyc lights n.Cyclorama o.Dichroic Filter p.Ellipsoidal light q.Fill light r.Fill lights s.Flag t.Flat lighting u.Flood (spread) v.Floor stands w.Fluorescent Floodlight Banks x.Focusing y.Footcandle z.Footlambert aa.  Fresnel bb.  Gaffer.
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  a.love b.success c.Cinderella d.triangle e.the return f.vengeance g.conversion h.sacrifice i.family 3.______ Protagonist undergoes a profound alteration of his/her attitudes and motivations. 4.______ Protagonist sets out to achieve a positive goal. 5.______ Motivated by noble ideals, protagonist gives up something valuable to aid another. 6.______ Someone absent reappears, precipitating story conflict. 7.______ Ugly duckling becomes beautiful swan. 8.______ Love story complicated by too many participants   .
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a.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage i.Cover shot j.Cutaway shot k.Cut-in shot l.Digitizing (footage) m.Edit Master Tape n.EDL (Edit Decision List) o.Frame Accuracy p.Gigabyte q.Insert Editing r.Jog s.Jump Cut t.Laundering An EDL u.Leader v.Master shot w.Neutral screen direction x.NLE y.Nonlinear Editing z.Off-line Editing aa. One-Hundred Eighty (180) Degree Rule bb. On-Line Editing cc. Pad Video dd. Pictorial continuity ee. Playback Tape ff. Pre-roll gg. Punch-and-Crunch Editing hh. Record.
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1.NTSC television’s aspect ratio is 16:9. True        False 2.The essential area is the only safe area in your viewfinder to put graphics. True        False 3.The most important thing to remember about the color of the character-generated lettering you key over a scene is to make sure: a.the color is complimentary to.
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  a.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipulator i.Dissolve j.DSK k.Effects Bank l.Effects Bus m.Fadeout (or Fadeup) n.Graphic Camera o.Graphic Stands p.Gen-locked q.House sync r.Key s.Key Bus t.Key Card u.Matte Key v.Mechanical Effects w.Mix x.On-line y.Open architecture z.Preview Bus aa.  Program Bus bb.  Quadruple (or triple, or double) Re-entry switcher cc.  Super (Superimposition) dd.  Switcher Architecture ee.  Synchronization (Sync) Generator ff.  Vertical blanking interval (VBI) gg.  Warping hh.  Wipe.
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a.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage i.Cover shot j.Cutaway shot k.Cut-in shot l.Digitizing (footage) m.Edit Master Tape n.EDL (Edit Decision List) o.Frame Accuracy p.Gigabyte q.Insert Editing r.Jog s.Jump Cut t.Laundering An EDL u.Leader v.Master shot w.Neutral screen direction x.NLE y.Nonlinear Editing z.Off-line Editing aa. One-Hundred Eighty (180) Degree Rule bb. On-Line Editing cc. Pad Video dd. Pictorial continuity ee. Playback Tape ff. Pre-roll gg. Punch-and-Crunch Editing hh. Record.
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a.Available light b.Background lights c.Back light d.Barn doors e.Baselight f.The Basic Lighting Triangle g.Broad h.C-Clamp i.Camera Light j.Counterweight Batten k.Contrast ratio l.Cucalorus m.Cyc lights n.Cyclorama o.Dichroic Filter p.Ellipsoidal light q.Fill light r.Fill lights s.Flag t.Flat lighting u.Flood (spread) v.Floor stands w.Fluorescent Floodlight Banks x.Focusing y.Footcandle z.Footlambert aa.  Fresnel bb.  Gaffer.
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a.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipulator i.Dissolve j.DSK k.Effects Bank l.Effects Bus m.Fadeout (or Fadeup) n.Graphic Camera o.Graphic Stands p.Gen-locked q.House sync r.Key s.Key Bus t.Key Card u.Matte Key v.Mechanical Effects w.Mix x.On-line y.Open architecture z.Preview Bus aa.  Program Bus bb.  Quadruple (or triple, or double) Re-entry switcher cc.  Super (Superimposition) dd.  Switcher Architecture ee.  Synchronization (Sync) Generator ff.  Vertical blanking interval (VBI) gg.  Warping hh.  Wipe.
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1.The main improvement over “punch and crunch” video editing came when functions were computerized, offering a.more precise control of rollback and recording functions b.edit preview capability c.computer control of all editing functions d.ability to make clean insert edits (edits inside other shots) e.all of the above 2.Which of the following characteristics of on- and off-line analog.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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1.In which act of a three-act TV screenplay is the dramatization of the protagonist’s efforts to overcome his “problem?” a.1 b.2 c.3 2.Writers and theorists generally agree that plots are characterized by protagonists’ conflicts with four kinds of antagonists.  Circle all antagonists cited by the text: a.other people; b.the physical environment; c.the non-physical (the supernatural); d.both a and.
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a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  a.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage i.Cover shot j.Cutaway shot k.Cut-in shot l.Digitizing (footage) m.Edit Master Tape n.EDL (Edit Decision List) o.Frame Accuracy p.Gigabyte q.Insert Editing r.Jog s.Jump Cut t.Laundering An EDL u.Leader v.Master shot w.Neutral screen direction x.NLE y.Nonlinear Editing z.Off-line Editing aa. One-Hundred Eighty (180) Degree Rule bb. On-Line Editing cc. Pad Video dd. Pictorial continuity ee. Playback Tape ff. Pre-roll gg. Punch-and-Crunch Editing hh. Record.
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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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  a.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipulator i.Dissolve j.DSK k.Effects Bank l.Effects Bus m.Fadeout (or Fadeup) n.Graphic Camera o.Graphic Stands p.Gen-locked q.House sync r.Key s.Key Bus t.Key Card u.Matte Key v.Mechanical Effects w.Mix x.On-line y.Open architecture z.Preview Bus aa.  Program Bus bb.  Quadruple (or triple, or double) Re-entry switcher cc.  Super (Superimposition) dd.  Switcher Architecture ee.  Synchronization (Sync) Generator ff.  Vertical blanking interval (VBI) gg.  Warping hh.  Wipe.
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a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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a.Available light b.Background lights c.Back light d.Barn doors e.Baselight f.The Basic Lighting Triangle g.Broad h.C-Clamp i.Camera Light j.Counterweight Batten k.Contrast ratio l.Cucalorus m.Cyc lights n.Cyclorama o.Dichroic Filter p.Ellipsoidal light q.Fill light r.Fill lights s.Flag t.Flat lighting u.Flood (spread) v.Floor stands w.Fluorescent Floodlight Banks x.Focusing y.Footcandle z.Footlambert aa.  Fresnel bb.  Gaffer.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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a.Available light b.Background lights c.Back light d.Barn doors e.Baselight f.The Basic Lighting Triangle g.Broad h.C-Clamp i.Camera Light j.Counterweight Batten k.Contrast ratio l.Cucalorus m.Cyc lights n.Cyclorama o.Dichroic Filter p.Ellipsoidal light q.Fill light r.Fill lights s.Flag t.Flat lighting u.Flood (spread) v.Floor stands w.Fluorescent Floodlight Banks x.Focusing y.Footcandle z.Footlambert aa.  Fresnel bb.  Gaffer.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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1.In sound, amplitude means volume and frequency is analogous to pitch. True        False 2.The ribbon microphone is physically more rugged and dependable than the dynamic microphone. True        False 3.Which of the following microphones requires an amplifier near the transducer? a.ribbon b.dynamic c.condenser d.electret condenser e.C and D 4.The ______  microphone is often chosen when you must.
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  a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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a.5.1 Surround Sound b.Accessory Shoe c.Acoustical feedback d.AGC e.Ambient sound f.Amplitude g.ATR h.Attenuate i.Audio Cassette Recorder j.Audio Mixing Console k.Audio Routing Switcher l.Automatic Muting circuit m.Balanced line n.Bidirectional microphone o.Blumlein Pair p.Board q.Boom r.Boundary Microphone s.Cable tray t.Capacitance u.Carbon Microphone v.Cardioid mike w.Cartridge Tape Recorder x.Ceramic Microphone y.Clip Microphone z.Co-incident Microphone Technique aa.  Compact Audio Disc (CD) bb.  Computer-based Audio Systems cc.  Condenser mike dd.  Connector Box ee.  Cross-fading ff.  Crystal Microphone gg.  Cue circuit.
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  a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video recording j.Composite video recording k.D-1, D-2, D-3, and D-5 l.D-5 HD m.D-7 n.D-9/Digital S o.Digital Betacam p.Digital Compression q.Digital Recording r.DV s.DVCPRO and DVCAM t.DVCPRO-50 u.DVCPRO HD v.DVD w.Electronic Still Store (ESS) x.Emulsion y.Generations z.Hard Disk Array aa. Hard Disk Drive (HDD) bb. Head cc.HDCAM and HDCAM SR dd.HDV ee.Helical Scan ff. Hue gg. IEEE hh. IEEE 1394 ii. Inches per second (IPS) jj.  Kinescoping kk..
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  a.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage i.Cover shot j.Cutaway shot k.Cut-in shot l.Digitizing (footage) m.Edit Master Tape n.EDL (Edit Decision List) o.Frame Accuracy p.Gigabyte q.Insert Editing r.Jog s.Jump Cut t.Laundering An EDL u.Leader v.Master shot w.Neutral screen direction x.NLE y.Nonlinear Editing z.Off-line Editing aa. One-Hundred Eighty (180) Degree Rule bb. On-Line Editing cc. Pad Video dd. Pictorial continuity ee. Playback Tape ff. Pre-roll gg. Punch-and-Crunch Editing hh. Record.
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  a.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipulator i.Dissolve j.DSK k.Effects Bank l.Effects Bus m.Fadeout (or Fadeup) n.Graphic Camera o.Graphic Stands p.Gen-locked q.House sync r.Key s.Key Bus t.Key Card u.Matte Key v.Mechanical Effects w.Mix x.On-line y.Open architecture z.Preview Bus aa.  Program Bus bb.  Quadruple (or triple, or double) Re-entry switcher cc.  Super (Superimposition) dd.  Switcher Architecture ee.  Synchronization (Sync) Generator ff.  Vertical blanking interval (VBI) gg.  Warping hh.  Wipe.
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  11.The major difference between D-1 and D-2 digital video recording is a.D-1 is component and D-2 is composite. b.D-1 is for professional recording, but D-2 is for amateur video. c.D-1 uses no compression, while D-2 does. d.D-1 is reel-to-reel, while D-2 uses three sizes of cassettes. e.There is no major difference between the two formats. 12.Properly.
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