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a.A point of view b.An attitude c.Personality d.Behavior e.Revelation f.Identification 9.______ Creating characters we care abou

  a.A point of view b.An attitude c.Personality d.Behavior e.Revelation f.Identification 9.______ Creating characters we care about. 10.______ A person ultimately is what he/she does, or doesn’t do. 11.______ In the climax to The Empire Strikes Back, we discover that Luke Skywalker’s nemesis, Darth Vader, is his father. 12.______ Ranging from Pollyanna to extremely jaded, the way a character views.
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a.A point of view b.An attitude c.Personality d.Behavior e.Revelation f.Identification 9.______ Creating characters we care abou
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

  a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter j.Demonstration (Commercial) Format k.Dramatic (Commercial) Format l.Five “Ws” and How m.Interview (Commercial) Format n.The Inverted Pyramid o.Master Scene Script p.Outcue q.Package r.Plot Outline s.Promo t.Protagonist u.PSA v.Rundown w.Scene x.Sequence y.Shooting Script z.Shot aa. Sound bites bb. Special Effects (Commercial) Format cc. Spokesperson (Commercial) Format dd. Sponsored Documentaries ee. Spot ff. Storyboard gg.Symbolism (Commercial) Format hh.Testimonial (Commercial) Format ii. Trailer jj. Treatment kk. WGA 52.______ The ad.
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

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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

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

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1.An ISO unit provides “another set of eyes and ears.” True 

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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1.An ISO unit provides “another set of eyes and ears.” True 
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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 Manipul

  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.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipul
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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

  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
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

  a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block h.Corner Bracing i.Depth j.Dimension k.Door or Window Flat l.Drop m.Dutchman n.Flat o.Flying p.Forced perspective q.Ground row r.Hand Props s.Jack t.Lash cleat u.Light Plot v.Masking Flat w.Mise-en-scene x.Neutral Design y.Platform z.Production Design aa. Production Designer bb. Properties cc. Property (Prop) Master dd. Realistic (or Representational) Design ee. Scene Designer ff. Scrim gg. Seamless Paper hh. Set Props ii. Silhouette Lighting jj..
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

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1.In which act of a three-act TV screenplay the dramatization

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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1.In which act of a three-act TV screenplay the dramatization
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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 record

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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video record
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1.Mise-en-scene is: a.A French scene. b.A detailed plan for scene construction a

1.Mise-en-scene is: a.A French scene. b.A detailed plan for scene construction on a TV show. c.Creatively arranging visual elements in a unified space. d.The creative relationship between scene designers and the producer in a  production. e.The French term for “There’s a mouse on the set.”       2.This shot features the use of the _____ strategic approach to.
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1.Mise-en-scene is: a.A French scene. b.A detailed plan for scene construction a
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

  a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter j.Demonstration (Commercial) Format k.Dramatic (Commercial) Format l.Five “Ws” and How m.Interview (Commercial) Format n.The Inverted Pyramid o.Master Scene Script p.Outcue q.Package r.Plot Outline s.Promo t.Protagonist u.PSA v.Rundown w.Scene x.Sequence y.Shooting Script z.Shot aa. Sound bites bb. Special Effects (Commercial) Format cc. Spokesperson (Commercial) Format dd. Sponsored Documentaries ee. Spot ff. Storyboard gg.Symbolism (Commercial) Format hh.Testimonial (Commercial) Format ii. Trailer jj. Treatment kk. WGA Definitions: 22.______ A 2-3.
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

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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

  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.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage

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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

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.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
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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 Manipul

  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.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipul
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11.The typical non-linear editing system includes a built-in character generator. True 

  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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11.The typical non-linear editing system includes a built-in character generator. True 
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1.Quadruplex was referred to as the “transverse” method of video

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.Quadruplex was referred to as the “transverse” method of video
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall

    a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block h.Corner Bracing i.Depth j.Dimension k.Door or Window Flat l.Drop m.Dutchman n.Flat o.Flying p.Forced perspective q.Ground row r.Hand Props s.Jack t.Lash cleat u.Light Plot v.Masking Flat w.Mise-en-scene x.Neutral Design y.Platform z.Production Design aa. Production Designer bb. Properties cc. Property (Prop) Master dd. Realistic (or Representational) Design ee. Scene Designer ff. Scrim gg. Seamless Paper hh. Set Props ii. Silhouette Lighting jj..
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall

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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

  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.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage

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11.It’s wise to roll five to ten seconds of video

  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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11.It’s wise to roll five to ten seconds of video
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

  a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block h.Corner Bracing i.Depth j.Dimension k.Door or Window Flat l.Drop m.Dutchman n.Flat o.Flying p.Forced perspective q.Ground row r.Hand Props s.Jack t.Lash cleat u.Light Plot v.Masking Flat w.Mise-en-scene x.Neutral Design y.Platform z.Production Design aa. Production Designer bb. Properties cc. Property (Prop) Master dd. Realistic (or Representational) Design ee. Scene Designer ff. Scrim gg. Seamless Paper hh. Set Props ii. Silhouette Lighting jj..
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

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a.love b.success c.Cinderella d.triangle e.the return f.vengeance g.conversion h.sacrifice i.famil

  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.love b.success c.Cinderella d.triangle e.the return f.vengeance g.conversion h.sacrifice i.famil
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

  a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block h.Corner Bracing i.Depth j.Dimension k.Door or Window Flat l.Drop m.Dutchman n.Flat o.Flying p.Forced perspective q.Ground row r.Hand Props s.Jack t.Lash cleat u.Light Plot v.Masking Flat w.Mise-en-scene x.Neutral Design y.Platform z.Production Design aa. Production Designer bb. Properties cc. Property (Prop) Master dd. Realistic (or Representational) Design ee. Scene Designer ff. Scrim gg. Seamless Paper hh. Set Props ii. Silhouette Lighting jj..
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

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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

  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
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

  a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter j.Demonstration (Commercial) Format k.Dramatic (Commercial) Format l.Five “Ws” and How m.Interview (Commercial) Format n.The Inverted Pyramid o.Master Scene Script p.Outcue q.Package r.Plot Outline s.Promo t.Protagonist u.PSA v.Rundown w.Scene x.Sequence y.Shooting Script z.Shot aa. Sound bites bb. Special Effects (Commercial) Format cc. Spokesperson (Commercial) Format dd. Sponsored Documentaries ee. Spot ff. Storyboard gg.Symbolism (Commercial) Format hh.Testimonial (Commercial) Format ii. Trailer jj. Treatment kk. WGA 32._______ Audio or.
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format

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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

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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a.Art Card b.Character generator (CG) c.Color contrast d.Computer platform e.Crawl f.Dead border area g.Electronic Still Store
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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

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

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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.

  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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

  a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block h.Corner Bracing i.Depth j.Dimension k.Door or Window Flat l.Drop m.Dutchman n.Flat o.Flying p.Forced perspective q.Ground row r.Hand Props s.Jack t.Lash cleat u.Light Plot v.Masking Flat w.Mise-en-scene x.Neutral Design y.Platform z.Production Design aa. Production Designer bb. Properties cc. Property (Prop) Master dd. Realistic (or Representational) Design ee. Scene Designer ff. Scrim gg. Seamless Paper hh. Set Props ii. Silhouette Lighting jj..
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a.Abstract, or Stylized Design b.Art director c.C-stand d.Cameo lighting e.Chroma Keydrop f.Chroma-Key Wall g.Corner Block

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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.

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.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipulator i.
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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.

  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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.
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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

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.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
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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.

  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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.
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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

  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.Art Card b.Character generator (CG) c.Color contrast d.Computer platform e.Crawl f.Dead border area g.Electronic Still Store
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11.The major difference between D-1 and D-2 digital video recording

  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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11.The major difference between D-1 and D-2 digital video recording
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a.Anytime Cutaway b.Cable run c.Interior Bridge d.ISO e.Microwave f.A Noddie/Nodder

      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.Anytime Cutaway b.Cable run c.Interior Bridge d.ISO e.Microwave f.A Noddie/Nodder

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a.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.

  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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.
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1.NTSC television’s aspect ratio 16:9. True  False 2.The essential area

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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1.NTSC television’s aspect ratio 16:9. True  False 2.The essential area
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1.If you stay in the communications business long enough you

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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1.If you stay in the communications business long enough you
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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

  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.A-B roll editing b.Action axis c.Assemble Editing d.Blacking e.Bin f.B-roll g.Control Track Editors h.Coverage

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14.A master scene script a 2-column script, with video the

  14.A master scene script is a 2-column script, with video on the left and audio on the right. True         False 16.The two top priorities for TV news stories are: a.telling the story in as few words as possible b.making the written copy correspond closely to the visuals c.following the inverted pyramid d.a and b e.a.
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14.A master scene script a 2-column script, with video 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

  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
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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

  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
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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

  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
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11.Once graphic cards converted to a more easily read form

  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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11.Once graphic cards converted to a more easily read form
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1.Another word for the shot transition known as a “cut”

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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1.Another word for the shot transition known as a “cut”
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1.The main improvement over “punch and crunch” video editing came

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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1.The main improvement over “punch and crunch” video editing came
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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 record

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.Acquisition format b.Betacam c.Betacam-SP d.Betacam SX e.Betamax f.CD g.Camcorder h.CamCutter i.Component video record
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter

a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter j.Demonstration (Commercial) Format k.Dramatic (Commercial) Format l.Five “Ws” and How m.Interview (Commercial) Format n.The Inverted Pyramid o.Master Scene Script p.Outcue q.Package r.Plot Outline s.Promo t.Protagonist u.PSA v.Rundown w.Scene x.Sequence y.Shooting Script z.Shot aa. Sound bites bb. Special Effects (Commercial) Format cc. Spokesperson (Commercial) Format dd. Sponsored Documentaries ee. Spot ff. Storyboard gg.Symbolism (Commercial) Format hh.Testimonial (Commercial) Format ii. Trailer jj. Treatment kk. WGA 42.______ Similar to.
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a.The A-Plot b.Act c.Antagonist d.ASCAP e.BMI f.The B-Plot g.The C-Plot h.Comparative (Commercial) Format i.Copywriter
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11.Two flats can be joined tightly side-by-side together with a.lash cleats

            11.Two flats can be joined tightly side-by-side together with a.lash cleats and rope b.masking flats c.wagons d.pigs of lead e.any of these   12.A popular drop in television is the solid red or orange chroma keydrop.   True        False     13.Bluish colors are considered warm colors.   True        False         .
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11.Two flats can be joined tightly side-by-side together with a.lash cleats
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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 Manipul

  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.Bank b.Box Wipe c.Bus d.Cascading effects e.Central Dynamics logic f.Chroma key g.Cut h.Digital Picture Manipul
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