You have two options.
First, see the screening of this student film,
Wednesday, May 2nd at 7p at the Red Cliffs Cinema located behind Dillard's. Post your impressions on how this film was produced on your blog no later than May third, 5p.
Your second option is to respond to the question,
So what?
How has the content of this course affected the way you watch, and perhaps the way you'll produce film?
Post your response on your blog no later than May 1st, 10a.
R-rated
Living your life avoiding the profane or obscene will not result in personal righteousness.
Instead it insulates you from the human condition, inhibits your ability to empathize and practice compassion, and leaves you woefully unprepared to face the inevitable R-rated contexts of your own life.
It's the choices you make when facing these contexts that establishes your worthiness. These choices can't be made if you never face them.
If you're afraid of getting some humanity on you, you're in the wrong field of study.
Instead it insulates you from the human condition, inhibits your ability to empathize and practice compassion, and leaves you woefully unprepared to face the inevitable R-rated contexts of your own life.
It's the choices you make when facing these contexts that establishes your worthiness. These choices can't be made if you never face them.
If you're afraid of getting some humanity on you, you're in the wrong field of study.
Assessment Two
1. The film plane can be best described as the
A. stuff that accumulates on your tongue after you’ve been asleep for awhile.
B. point of focal registration and composition.
C. where the image is actually recorded.
D. gate or charged couple device (CCD).
E. All but A.
2. The larger the negative surface of celluloid, or the pick-up device, the better the resolution.
A. True
B. False
3. The sound environment consists of the sounds that are only present on location.
A. True
B. False
4. Ambient light is the kind of light present in a context without any additional artificial light.
A. True
B. False
5. A dolly configured to run smoothly on a track is a
A. a doorway dolly.
B. Barbie.
C. speed dolly.
D. western dolly.
6. A ___________ can move the film plane on any axis while craning and dollying.
A. MagiCam
B. SophistiCam
C. SteadiCam
D. Techno-Jib
E. HeliCam
7. Handheld shooting is more stable when shot
A. tight,
B. wide
C. sober.
D. telephoto
8. An advantage of prime lenses over zooms is that they
A. let in more light.
B. have less aboration in the corners.
C. cost less than zoom lenses.
D. Both A and B.
9. Steadicam technology was developed for the film
A. Rocky.
B. Bound for Glory. (It’s this one, really.)
C. Rocky III.
D. Rocky IV.
E. Rocky VI.
10. The first position of a dolly move is called ________ and the second is called________.
A. alpha, beta
B. tweedle-dee, tweedle dum
C. one, two
D. A, B
11. Two main positions of the Steadicam operator are
A. the Macarena and the Foxtrot.
B. the forward facing and the rearward facing.
C. the Don Juan and the missionary position. (Really, I’m not making this up.)
D. I missed class that day, darn it.
12. Three main components that make up a Steadicam rig are
A. the sled, the toboggan, and the ski.
B. the vest, the articulating arm and the sled.
C. the arm, the sleeve, and the vest.
D. the vest, the sleeve, and the trousers.
E. I’m the one who missed class that day.
A. the tripod.
B. track and dolly.
C. a jib move.
D. B and C.
E. I probably shouldn’t miss class any more.
E. I probably shouldn’t miss class any more.
A. is a faster lens.
B. combines a number of focal lengths into one lens.
C. has less elements to distort clarity
D. Both A and C.
A. the distance of the focal plane.
B. the focal length of the lens.
C. the optical configuration of the lens.
D. depth of field.
E. Both A and D.
16. The scene below was shot in the New Cavern Club, which replaced the original Cavern
Club in __________ where the Beatles played.
A. London
B. Livermore
C. Liverpool
D. Cork
E. New York
17. In the montage for Let It Be, the shot below establishes context for a funeral using a
___________ for the move.
A. doorway dolly
B. crane
C. SteadiCam
D. Helicam
18. The shot below from the Because sequence begins with a very sophisticated move using a _______.
A. Techno-Jib
B. Helicam
C. SteadiCam
D. MagiCam
E. SophistiCam
19. When Max goes to the draft center he is met with a three-dimensional Uncle Sam. This effect was achieved through _________.
A. rotoscoping
B. puppets
C. compositing
D. the MagiCam
20. Bounced or diffused light creates __________ shadows whereas direct light creates _________ shadows.
A. dark, gray.
B. long, short.
C. dense, shallow.
D. soft, hard.
21. A bare-bulb light fixture that employs a parabolic reflector is called a
A. flood.
B. spot.
C. par.
D. fresnel.
22. A base exposure is pulled off the ______ light in a three point light set-up
A. fill.
B. key.
C. backlight.
D. fresnel.
23. Color temperatures are measured on the ________ scale.
A. Kelvin
B. Kevin
C. Kalvin Klein
D. Krayola
24. Three-point lighting uses _________ fixtures.
A. two
B. nine
C. six
D. three
25. In the shot below of Jude from Across the Universe, the light that models his face can be
best characterized as __________.
A. soft
B. diffused
C. hard
D. bare
E. A &B
26. Setting the color temperature of a camera is accomplished by
A. Tungsten balancing.
B. daylight balancing.
C. white balancing.
D. chroma balancing.
27. Diffusion of a light instrument results in
A. a shadow with a long drop-off.
B. warm, wrap around lighting.
C. a shadow with a short drop-off.
D. both A and B.
28. The primary function of a camera is to
A. capture the action.
B. record light.
C. tell a story.
D. provide a focal plane.
29. A fixture with a lens in front of the lamp and an adjustable parasol reflector behind it is called
A. a Fresnel.
B. a Fresno.
C. a Francisco.
D. an al Fresco.
30. Tungsten light burns ________ while sunlight burns ________.
A. blue, amber
B. magenta, cyan
C. amber, blue
D. 38000 Kelvin, 56000 Kelvin
E. Both C and D.
31. Shooting with daylight and tungsten fixtures mixes color temperatures.
A. True
B. False
32. A cardioid pickup pattern is named such because it resembles a(n)
A. microphone.
B. omnidirection.
C. heart.
D. All the above.
33. An omnidirectional microphone picks up audio from
A. God.
B. one main direction.
C. all directions.
D. the director (sometimes confused with A).
34. A unidirectional shotgun with some peripheral sensitivity has a ___________ pick-up pattern.
A. omnidirectional
B. cardioid
C. polar
D. hypercardioid
35. A ___________ is used for primary dialogue whereas a _____________ can establish better proximity.
A. supercardioid, hypercardioid
B. parabolic, dynamic microphone
C. lavalier, shotgun
D. brunette, blonde
36. The _____________ is the department head and is responsible for all aspect of production sound.
A. boom operator
B. sound mixer
C. audio engineer
D. utility technician
37. The sound mixer is responsible for gathering all ambient audio cues that can be found on location and must take _______ into consideration when recording for stereo or surround-sound.
A. noise
B. Dolby
C. phase
D. signal
38. A good boom operator considers the resonance of the human frame much like they would recoding a musical instrument.
A. True
B. False
39. The boom operator must decide where to place the microphone based on
A. the location and projection of any dialogue.
B. the frame position of the camera.
C. the source of lighting.
D. any unwanted noise sources.
E. All the above.
40. The boom operator places the microphone using a
A. fishpole.
B. jib arm.
C. fly rod.
D. Gitzo
41. On large productions the key grip will have a __________, who is the second in command, and a crew of grips who are highly specialized in specific tasks.
A. 1st AKG
B. Best Boy
C. grip
D. gaffer
42. A dolly grip is typically certified to operate a __________ dolly.
A. Fisher
B. doorway
C. speed
D. Western
43. Once the set is built and has been photographed, it is no longer the responsibility of the construction crew, but the grip department.
A. True
B. False
44. If someone is injured on the set, that liability falls to the _________.
A. 1st AD
B. UPM
C. location paramedic
D. key grip
45. The camera obscura effect used in the storage unit where Gray sees an inverted vision of what's happening outside can be easiest to achieve by _________.
A. compositing
B. projecting
C. creating the actual camera obscura
D. animation
46. Ian and Gray are characters that begin as __________ and __________, but end up as
_______ and _______.
A. antagonist, protagonist/protagonist, antagonist
B. good guy, bad guy/villain, hero
C. protagonist, antagonist/antagonist, protagonist
D. I don't know, we haven't finished the screenplay.
47. The demolition of the McDaniel residence is mostly depicted through the use of
A. violent, splitting two by four studs and dry wall.
B. atmosphere and sound effects.
C. pyrotechnics.
D. compositing.
48. An adirondack
A. is a common deck chair found in the Smokey Mountains.
B. makes a handy improvised surgical table.
C. is rarely found by itself.
D. All the above.
49. Pam
A. gets it all.
B. is happier to find the area rug than she is to find her husband.
C. evolves as a heroine. (Not the narcotic.)
D. All the above.
50. The MagiCam
A. is an iPhone application.
Sound Mixer
A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.
Usually, the recordist will arrive on location with his/her own equipment, which normally includes microphones, radio systems, booms, mixing desk, audio storage, headphones, cables, tools, and a small amount of stationery for making notes and logs. The recordist may be asked to capture a wide variety of sound on location, and must also consider the format of the finished product (mono, stereo or surround sound). The recorded production sound track is later combined with other elements or re-recorded by automatic dialogue replacement.
Often when filming on video, the sound recordist may record audio directly onto the camera rather than use a separate medium, although a separate copy is often made, as it both provides an extra copy which may have more tracks and also may include other sound captured without the camera.
The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound including the hiring of a boom operator and utility sound technician, planning the technical setup involving sound including both sound equipment and ancillary devices involved in syncing and time offsets, anticipating and discussing sound-related problems with the rest of the crew, and ordering and preparing the sound equipment to be used on the set.
Boom Operator
A Boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end, their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom to enter the camera's frame. Often in television studios, the boom operator will use a "fisher boom" which is a more intricate and specialized piece of equipment that the operator stands on, and that allows precise control of the microphone at a greater distance from the actors. He or she will also attach wireless microphones to persons whose voice requires recording.
Boom poles are usually manufactured from several lengths of aluminium or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires. Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base that the operator plugs their microphone cable into. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.
The boom operator and production sound mixer may often be combined into one job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.
The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as the actors themselves, as they may be required to tilt or move the microphone according to who is speaking.
In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.
Boom poles are usually manufactured from several lengths of aluminium or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires. Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base that the operator plugs their microphone cable into. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.
The boom operator and production sound mixer may often be combined into one job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.
The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as the actors themselves, as they may be required to tilt or move the microphone according to who is speaking.
In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.
Key Grip
From Get In Media
The key grip works for the director of photography (DP) and supervises the crew of grips responsible for camera equipment and accessories and anything associated with the camera’s operation and movement, as well as anything that cuts or diffuses the lamps set up by the gaffer’s crew. He or she attends preproduction meetings with the director, producers, DP, and location scout to determine what special equipment may be needed during the shoot, then works closely with the gaffer on-set to supervise the positioning of scrims, reflectors, and flags that diffuse light and create shadow. During the shoot, the key grip will also assign grips to oversee camera movements that require dollies or cranes, as well as managing set operations like the movement of wild walls. Once the set is built and has been photographed, it is no longer the responsibility of the construction crew, but the grip department. Because they are in charge of all rigging, the grip department is responsible for safety on-set, and the key grip can be taken to court if an accident happens.
On large productions the key grip will have a best boy grip (male or female), who is the second in command, and a crew of grips who are highly specialized in specific tasks: set ops grip, dolly grip, construction grips, and crane operator. On very small shoots, the key grip may function as part of the crew, but generally this is only a supervisory role—the heavy lifting and laying of track is left to the grips. Most key grips will have at least some of their own grip equipment. A key grip often has his or her own grip truck, and will rent it to the production he or she is working on.
Skills & Education
A college degree is not required in this role, but training is. A degree in film and television production can introduce you to the filming process, the use of grip and camera equipment, and the artistic theory of photography. As a key grip you need to be mechanically inclined, with an excellent understanding of light, color, and electricity. Most working key grips are members of IATSE (International Alliance of Theatrical Stage Employees), which offers apprentice-training programs. Working as a grip on union productions is the only way to make the move up to key grip. Commercial or residential construction experience is also useful toward this role, as many working in the grip department have made the leap to film and television production through friends and close contacts.
What to Expect
This is a freelance position that requires long hours, travel, and (sometimes) manual labor. A good key grip is an effective leader, an excellent communicator, and a creative problem-solver. You are expected to be just as good at taking orders as you are giving them. You must be well-organized and great strategic planner, and comfortable with the great responsibility: The key grip is liable if someone is injured on the set. A key grip needs to be flexible and highly adaptable; locations, crews, and working conditions are constantly in flux. Keep in mind that in the production business, you are only as good as your last gig. As with most film production jobs, you will usually be hired again and again by the same handful of people, but every new job is another audition screw up on one and you may not be hired on the next. Once a best boy rises to the rank of key grip, he or she can work toward building a career in big-budget films and major studio productions or aim higher to try to become a DP.
The Key Gaffer
From The Film Connection Film Institute
The gaffer is the chief lighting technician of a film crew, and sometimes the traditional name "gaffer" is dropped in favor of the more official lighting technician. If it has to do with lighting, the gaffer is in charge of it. This means the gaffer not only has to have mastery over the vast array of lights, lighting equipment, and lighting techniques that may be used while filming, but the position also requires knowledge of the set and requirements of the script and the director. Working together efficiently is one of the most important qualities for any film crew, and it is part of the gaffer's responsibility to make sure all lighting workers are up to speed with changes that are being made and can work well with other members of the crew--which means staying out of the way as much as offering assistance.
Gaffers should not be confused with key grips or boss grips, although there is some overlap. Grips focus primarily on the construction and equipment aspects of filming. Grips can be found building scaffolding, or tracks for lighting or camera equipment to move across. The key grip oversees all the other grips, while the gaffer oversees all the lighting staff, and depending on the film crew the gaffer will probably be in charge of the grips who are working on lighting at that time. Both the key grip and gaffer also have "best boys" or seconds who tend to take care of logistics like transportation.
Of course, there is a lot of lighting work that needs an expert touch, meaning a qualified electrician who can monitor electrical current requirements and make sure there are no overloads. The gaffer needs to hire a professional electrician who can handle the depends of the film industry like the rest of the crew, and most gaffers have one or two electricians that they depend on for the more delicate or dangerous lighting work. Other electric and lamp operators are also beneath the gaffer and take orders from him.
But a gaffer's job goes beyond logistics and mechanics. The crew working with the lights has to be constantly available, and they all work 12-18 hour days for weeks and sometimes months at a time as the movie or video is being shot. This can put a lot of stress on the lighting crew and makes for short tempers and accidents waiting to happen. It often falls to the gaffer to make sure the team meshes well, that they have respect for one another and are close enough to each other to forgive mistakes and learn from one another--a talent not easily measured in training or tests. For this reason, people interested in being gaffers are often encouraged to work with several different film crews to get a feel for the job and what is required, even if they have been to film school and know all the techniques by name.
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