Los Angeles City College

Lecture Outline & Test Terms for 2013 Book (Cinema 1 / Exam #2)

Page numbers are from: The Filmmaker's Handbook 2013 Edition. You will need to bring a Scantron (#882) form to class (for sale in the LACC Bookstore an ASG) and a #2 pencil. This is NOT an open book test, but use of an English/foreign language dictionary is allowed.

Chapter 9: The Shoot (pp. 321-401)

• Production Crew (pp. 361-2)
  • Producer(s)
  • Unit Production Manager (U.P.M.)
  • 1st Assistant Director (A.D.)
  • 2nd Assistant Director (A.D.) (background)
  • Script Supervisor (continuity)
  • Production Assistant (P.A.)
  • Director
  • Casting (p. 363)
  • Director of Photography (D.P.)
  • Camera Operator (camera movement)
  • 1st Assistant Camera Operator (A.C.)
  • 2nd Assistant Camera Operator (A.C.)
  • Digital Image Technician (D.I.T.)
  • Still Photographer
  • Sound:
    • Mixer/Boom Operator/Cable
  • Electrical:
    • Gaffer/ Best Boy/ Electricians
  • Grip:
    • Key/ Best Boy/ Grips/ Dolly
  • Art Department:
    • Prod Designer/ Art Director
    • Set Decorator/ Dresser
    • Construction/ Greens people
  • Props
  • Make-Up:
    • Keys: Hair & Make-Up
    • Special Effects Make-Up
  • Wardrobe:
    • Costume Designer/ Costumers
  • Locations (pp. 364-5)
  • Transportation (Drivers)
  • Physical Effects (Mechanical)
  • Visual Effects (VFX)
  • Second Unit (p. 362)
• MOS (no sound) (pp. 333-4, 369)
• Scenes/Shots (pp. 322-3, 369-70)
  • Example: Scene 8 B - Take 14
• Takes/ Setup (p. 323)
• Circled Takes (p. 370)
• Standard Shot Progression (p. 334-5)
  • Master Shot (whole scene) (p. 334)
  • Long Shot / Medium Shot
  • Close-Ups
• Angle/ Reverse-Angle Shot (p. 323)
• Point-of-View Shot (P.O.V.) (p. 324)
• Static Shot/Moving Shot (p. 328-9)
• Pick-Ups (pp. 360, 372-3)
• Storyboard (pp. 356-7)
• Camera Angles (Height)
  • High/Eye/Low Level (Not in book)
• Screen Direction (pp. 344-5)
• 180-Degree Rule (Line)(neutral shot) (pp.344-5)
• Director's Finder (pp. 364-5)
• Gaffer's Glass (Contrast Viewing)
• Composition (pp. 324-328)
  • Leading the Action/Look Space
  • Rule of Thirds/TV Safe (p. 325)
• Continuity (pp. 341-3)
  • Overlap of Action
• Cutaways/Inserts (p. 342)
• Jump Cuts (p. 342)
• Pulled (Rack) Focus (p. 326)
• Dutch Angle (Dutch Tilt) (pp. 326-7)
• Shooting Ratio (10:1 etc.) (pp. 360-1)
• Tripod Heads (pp. 378-9)
  • Friction/ Fluid/ Geared Heads
• Tripod Legs (pp. 379-81)
  • Standard/Baby Legs/High Hat
• Spreader (Spider, Triangle) (p. 379)
• Suction Cup Camera Mounts (pp. 385-6)
• Apple Boxes (p. 381)
• Speed-Rail®
• Pan & Tilt, Swish Pan (p. 329)
• Dolly (Crab), Track, Truck (pp. 330-1)
• Camera Crane or Boom (p. 381)
• Hand-held camera (pp. 386-7)
• Moving Vehicle Shooting (pp. 385-6)
• Image Stabilization Devices (pp. 387-9)
  • Mechanical/Optical for High End DV Cameras
  • Electronic for Consumer DV (EIS)
  • Steadicam™ (pp. 388-9)
• 3D (Stereoscopy) (pp. 396-401)

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Chapter 10: Sound Recording Systems (pp. 402–434)

• Frequency/Pitch (Hz) (pp. 403-4)
• Amplitude (Volume) (p. 403)
  • dB (Decibels)
• Dynamic Range (measured in dB) (p. 403)
• S/N (Signal to Noise Ratio) (p. 403)
• Sweetening (p. 637)
• Magnetic Tape Recorders (pp. 405-6):
  • DAT (Digital Audio Tape) (p. 410)
  • Nagra™ Analog Reel-to-Reel (p. 410)
    • Pilot Head/Playback Head (p. 419)
• Types: Digital Audio Recorders (pp. 410-11)
  • Zoom™, Tascam™, etc.
  • Laptop (Hard Drive)
  • Flash Memory, Optical Media (DVD/CD)
  • Smartphone
  • Double system syncing software
• Recording in the Video Camera (pp. 417-9)
  • Challenges: (poor built in mic, mini plug, noisy pre-amp and no phantom power)
• Resolution (Sound Quality) (pp. 408-9)
  • Sampling Rate
  • Bit Depth (precision)
  • Most camcorders 48 KHz at 16 Bits (p. 414)
• Audio File Formats (pp. 413-4)
  • BWF
  • AIFF, MARF, SDII, WMA, MP3, AAC, FLAC
• Microphones (pp. 420-4)
  • Mic vs. Line Level (p. 431)
  • Microphone Types (p. 420)
    • Dynamic (Rugged/No Battery)
    • Condenser (Sensitive/Needs Power)
  • Pick-Up Patterns (Directionality): (pp. 420-2)
    • Omnidirectional (Non-Directional)
    • Cardioid (Front & Sides)
    • Hypercardioid (Front Only) (Shotgun)
  • Types & Usage (pp.425-9)
    • Hand/Boom/Fishpole/Lavaliere (Lapel)
    • Wireless Mics (RF) (p. 428-9)
  • Windscreen/Zeppelin (hard) (pp. 424-5)
• Balanced/Unbalanced Cable (pp. 432-4)
• Impedance
  • High & Low (long cable) (p. 434)
  • Matching Transformer (p. 434)
• Audio Connectors (pp. 432-3)
  • (Balanced) XLR & 3 Conductor
  • (Unbalanced): Mini/ 1/4" / Phono

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Chapter 11: Sound Recording Techniques (pp. 435–470)

• Sound Person or Mixer: (pp. 362, 440-2)
  • Mic, Cable, Headphones, Recorder, Mixer
  • Prepares Sound Report / Labels
  • Reference Tone (for setting amplitude) (p. 452)
  • Head/Tail Slate (p. 370)
• VU Meter (Volume Unit) (0 dB) (pp. 448-52)
• Digital Levels (-20dB) (p. 452)
  • Avg. peaks about -20dB, not above -10dB
• Level/Gain/Pot (p. 446)
• Automatic Gain Control (or AGC) (pp. 453-4)
• Ambient Sound/Room Tone (p. 444-5)
• Acoustics (Live, Dead) (p. 445)
• Ideal Placement of Mics (1-3 feet) (pp. 442-3)
  • Proximity Effect (too close)
• Multiple Microphones:
  • Phase Cancellation (weakens) (p. 460)
• Slate/Clapper/Sticks (pp. 466-9)
  • Head/Tail Slate
• Time Code (Digi-Slate) (p. 466)
• Recording a "Hollywood Style" Take (p. 370)

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Chapter 12: Lighting (pp. 471–520)

• Available Light (p. 471)
• Naturalistic Light (pp. 498, 506)
• Hard Light/Specular Light (p. 472)
• Soft Light /Diffuse Light (pp. 472-3)
• Top Light/Underlight (p. 476)
• Lighting Contrast (pp. 476-8)
  • Low Key/High Contrast
  • High Key/Low Contrast
• Wattage: 1k, 2k, 5k, 10k (p. 479)
  • Aces (1k) and Deuces (2k) (p. 486)
  • Spots: Inky/Baby/Junior/Senior
• Inverse Square Law (pp. 479-80)
• Lamp Head/Bulb (p. 480)
• Tungsten-Halogen-Quartz (p. 480)
  • (CTO) 3200°K
• HMI Lights (formerly carbon arc) (p.481)
  • (CTB) 5600°K
• Fluorescent Bulbs (pp. 483-5)
• Plusgreen/Minusgreen Gels (p. 516)
• Spotlights (Focusing) (pp. 486-7)
  • Fresnel Lens (p. 486)
  • Open Face (No Lens) (p. 487)
• Floodlights (Nonfocusing) (pp. 487-8)
  • (PAR) Sealed-Beam Lights
  • Scoops/Broads
• Diffusion Materials (p. 488)
  • Lee 216/250
  • Rosco Opal Tough Frost
  • Rosco Soft Frost
• Scrims (reduce light intensity) (p. 464)
• Bounce Light (p. 489)
  • Foam Core/Show Cards
• Reflectors (p. 491)
  • Foil or Space Blanket
• Eye/Obie/Bash Light (p. 492)
• LED Lights (pp. 485-6)
• Spill Light Control (pp. 493-4)
  • Flags, Barndoors, Net, Cucoloris, Snoot
• C-Stands (Century Stands) (p. 496)
• Location Lighting: Polecats, etc. (p. 496)
  • Practicals (pp. 491-2)
• Dimmers (p. 496)
• Gels: CTO & CTB (p. 496)
• Dichroic Filters (match TO daylight) (pp. 497-8)
• Three Point Lighting (pp. 499-501)
  • Key/Fill/Back
• Lighting Contrast (p. 512)
  • Typical Ratios: (2:1, 3:1, 4:1)
• Butterfly/Silk (pp. 513)
• Magic/Golden Hour (p. 517)
• Night/Day for Night (p. 517)
• Mixed Color Temperature (pp. 514-6)
• Formula for determining amps (p. 518)
  • Amps = Watts/Volts

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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.