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Joni Varner

Test Terms for 2008 Book (Cinema 1 / Exam #3)

You will need to bring a Scantron (#882) Form to class (for sale in the LACC Bookstore) and a #2 pencil. This is NOT an open book test, but use of an English/Foreign Language Dictionary is allowed.

* Found in lecture notes only!

Chapter 13: Picture & Dialogue Editing

  • editing / cut (p.486)
  • Montage Theory (pp. 340, 487-488)
    • Russian, Hollywood
    • mise-en-scene (French)
  • invisible / match cutting (p.489)
  • intercut / parallel editing (p.491)
  • cut on the action (p.489)
  • jump cut (p.489)
  • screen direction & 180-degree rule (p.490)
  • joining sequences (pp. 490-491):
    • straight cut, dissolve, fade
  • dialogue editing (p. 491-493)
  • editor & assistants jobs (pp. 493-496)
  • assembly, rough, fine cut, picture lock (p.496)

Chapter 14: Editing Video (only pp. 502-522)

  • NLE (non-linear editor) (p.502)
  • DAW (digital audio workstation) (p.627)
  • Turnkey Systems (p.503)
  • Software Systems (pp. 504-505)
    • *Resolution Independent
  • Nonlinear Editing Equipment (pp. 505-513)
    • computer & RAM (p.505)
    • monitors (picture & sound)
    • video or graphics cards (p. 506)
    • capture cards, conversion boxes (p.508)
    • ingest device (camera, card reader, etc)
    • storage (hard drives, etc.)
      • RAIDs (p. 219)
  • Input & Output (pp. 216-217 & p. 506)
    • FireWire™, USB, SDI, HDMI
  • On Line vs. Off Line (pp. 513-518)
    • Off Line (rough, SD, non-native codec)
    • On Line (final, HD, native codec, clr correct)
    • SMPTE TimeCode (p. 203)
    • EDL (edit decision list) (p.514)
    • *FCL (film cut list) for conforming
  • film editing equipment (pp. 587, 593):
    • editing bench & upright Moviola™
    • flatbeds Steenbeck™, KEM™

Chapter 5: Video Image (only pp. 208-229)

  • analog / digital (p. 208)
  • magnetic media independent of A or D
  • Pixel Resolution (pp. 210-212):
    • NTSC approx. 350,000 pixels
    • HDTV (2k) approx. 2 million pixels
    • FILM (4k) approx. 12 million pixels
    • Square vs. Non-Square (p. 213)
    • Bit Depth or Precision (p. 212)
      • 8 to 10 bit color
  • Sample Rate: (p. 374)
    • CD 44.1 kHz & DV 48 kHz
  • Color Sampling (pp. 196-197):
    • Y=luminance or brightness
    • C=chrominance (color)
    • 4:4:4 Film Scanning
    • 4:2:2 Digibeta, D1
    • 4:1:1 DV
    • 4:2:0 HDV, DVD, MPEG2
  • Data Rate (bandwidth) (p. 216)
    • Mbps (MegaBITS per second)
  • Media Files vs. Metadata (p. 220)
  • Video recorded to tape is raw data
  • Wrappers (file formats) (pp. 220-222)
    • Quicktime™ (.mov)
    • Windows Media™ (.avi)
    • MXF™, AAF, OMF™
  • Digital Compression (p. 222)
    • Codecs (compressor/decompressor)
    • Intraframe (within the frame) (p. 223)
      • JPEG
    • Interframe (between frames) (p. 224)
      • MPEG
        • MPEG-1 (MP3)
        • MPEG-2 (DVD, digtl cable, satellite)
        • MPEG-4 (AVCHD, blu ray, HD-DVD)
  • GOP (group of pictures) (pp. 224-227)
  • Constant & Variable Bit Rate (p. 227)
  • Compression Ratios (p. 223)
    • DigiBeta™(2:1), DV(5:1), DVD(40:1)
  • Aliasing (pp. 14 & 374)

Chapter 16 Sound Editing & Mixing:

  • sound editor / designer (p.625)
  • splitting & track building (p. 626)
  • sweetening (p. 626)
  • pro rerecording mixer (p. 626)
    • mix or dub stage
  • composer & music supervisor (music) (p. 626)
    • scores the music (pp.636-638)
    • temp tracks
    • spotting (cue sheets)
  • music library /sound alikes (p. 637)
  • music creation software (p. 638)
  • copyrighted music © (pp.744)
  • synchronization rights (pp. 744-746)
    • all territories
    • film festival, video on demand (p.746)
    • ASCAP™, BMI™, SESAC™ (p. 745)
  • production audio(raw location sound)(p. 627)
  • mixing projects (p. 628)
    • NLE edit, DAW track work, mix in studio
  • Tools (pp. 629-630)
    • near field speakers, mixing console
    • DAW: ProTools™ or Nuendo™
  • SFX (p. 634)
  • sound / Foley stage (p. 635)
  • ambient sound & room tone (p. 635)
    • bed or walla noise
  • preparing for the mix - tracks (pp. 640-644)
    • 1) dialogue/sync sound 2) narration
    • 3) music 4) effects
  • all tracks played back in sync with picture
  • levels are adjusted & equalization applied
  • compressor: reduces loudest sounds (p.649)
  • mixed sound rerecorded for final output
  • cue sheets (p. 646)
  • mix takes 2-10 times project length (p.647)
  • Output to Dolby Surround Pro Logic™
    • 3.1, 5.1, 6.1, 7.1 (p. 655)
  • M and E tracks & dialogue (p. 656)

Chapter 17: The Film Laboratory

  • preproduction lab tests (p. 659)
  • processing the original (p. 659)
  • end / tail test (p. 660)
  • circled takes xfered to video workprint (p. 661)
    • timed (color balanced) untimed (one-lite)
  • *film out vs. video out (postproduction path)
  • film = timer or grader (pp. 573-575)
  • video = colorist (telecine) (p. 698)
  • film printers (p. 666)
    • contact (continuous) printer
    • optical (step) printer
      • skip printing=fast motion (p. 677)
      • stretch printing=slow motion
      • blowup/ reduction printing (p. 679)
      • color timing/additive printing (p.681)
        • RGB (50 light points each)
  • negative cutter/conformer (p. 668 only)
  • digital effects & composites (pp. 543-549):
    • chromakey:
      • blue/green screen
      • hold out mattes (p. 678)
  • digital optical effects (p. 676)
    • film scanner & recorder (pp.714 & 716)
  • Pre-Viz (Pre-Visualization) (p. 313)
    • director tool & live action/CGI
  • CGI (Computer Generated Imagery) (p. 543)
  • *(MoCap) Motion Capture
  • digital to film transfers (p. 715)
  • making film prints (pp. 681-688):
    • intermediates (film) (p.685) :
      • (IP) interpositive
      • (IN) internegative (dupe neg)
      • release prints (to theatre)
    • digital intermediates(2K/4K)(pp. 718-719)
    • answer & check prints (p.683 & 686)
  • sound for film prints (pp. 689-691):
    • composite or married print
    • optical tracks (photographic)
    • digital tracks (pp. 692-693):
      • SDDS™/ DTS™ /Dolby Digital™/THX™
  • theatrical film projector (p. 693)
    • xenon vs. tungsten print
    • digital projection (p. 199)
      • LCos™ and DLP™

Chapter 18: Film-Digital Transfers

  • Telecine (real time) (pp. 696-698)
    • Flying Spot Scanner (Cintel™)
    • Linear Array CCD Scanner (Spirit™)
    • Film Chain (inexpensive)
    • Color Corrector (da vinci™) (p. 698)
    • Kodak KeyKodes™ & Fuji MR™ (p.702)
  • Pulldown (film or video) (p. 566 only)
    • 3:2 or 2:3 normal pulldown
  • Datacines (not real time) (p. 714)
  • LUT (lookup tables) (p. 720)

Chapter 19: Producing & Distributing

  • pre, production & post budgets (pp. 728-729)
  • above & below-the-line (p. 727)
  • distribution costs (printing/ marketing) (p. 727)
  • negative costs (all expenses prior to distribution)
  • contingency (5%-15%) (p. 727)
  • overhead - costs of business
  • contributions (in-kind)
  • the budget estimate (p. 727)
  • unions (p. 730):
    • *IATSE/SAG/AFTRA
  • points/deferred salaries (p.730)
  • insurances (p. 733)
    • E &O Insurance (p. 740)
  • fundraising (pp. 733-738)
  • copyrights (pp. 738-748)
  • releases (form on page 741)
  • distribution (pp. 748-760)
    • theatre, TV, home video, websites, foreign

* Found in lecture notes only!


There will be a total of 50 questions in the format of Multiple Choice and True/False.
There will also be extra credit questions on the videos that have been shown in class.

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