Question 1

Matching :
-______ Used to develop the interaction between characters in a script.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement J

Question 2

Who has compositional focus in this shot?

Accepted Answer

A)  The girl playing the piano 
B)  The woman standing in the center 
C)  The woman sitting at the right 
A)  The girl playing the piano 
B)  The woman standing in the center 
C)  The woman sitting at the right B

Question 3

The first thing directors do is become as familiar with the script as its writer.

Accepted Answer

A) True 
 B)False  True

Question 4

Matching :
-______ A major dramatic value that focuses directorial efforts on the delivery of the lines (the words) in the script.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 5

Matching :
-______ Balance achieved by equally dividing pictorial weight on each side of the frame.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 6

Matching :
-______ Visually interpreting the script for the audience.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 7

Matching :
-______ The rate at which a scene's (or a program's) rhythm occurs.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 8

Matching :
-______ Used to resolve the main plot problems in the story.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 9

Matching :
-______ Action not vital to the plot that can be used for character exposition and other purposes.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 10

In a shot, when Talent A focuses on Talent B, and Talent B focuses on Talent C, you have

Accepted Answer

A)  direct focus 
B)  indirect focus 
C)  symmetrical focus 
D)  asymmetrical focus 
E)  a whole lotta focusing goin' on 
A)  direct focus 
B)  indirect focus 
C)  symmetrical focus 
D)  asymmetrical focus 
E)  a whole lotta focusing goin' on

Question 11

Matching :
-______ A balance achieved through manipulation of variables other than evenly dividing weight on each side of the picture.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 12

Matching :
-______ Movement connected with handling props or to communicate meaning in the scene.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 13

Matching :
-______ Business that transports talent and objects from one place to another.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 14

Matching :
-______ A major dramatic value that focuses directorial efforts on the development of political/social concepts in the script.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 15

The longest time transition of them all is the

Accepted Answer

A)  cut/take 
B)  dissolve 
C)  fade 
A)  cut/take 
B)  dissolve 
C)  fade

Question 16

Picturization provides no aid to dialogue in telling the story.

Accepted Answer

A) True 
 B)False

Question 17

Matching :
-______ A major dramatic value that focuses directorial efforts on the development of visual grandeur or the musical performances in the script.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Question 18

Sitting is a stronger movement than standing up.

Accepted Answer

A) True 
 B)False

Question 19

All other variables notwithstanding, for an actor,

Accepted Answer

A)  downstage left 
B)  downstage center 
C)  downstage right 
D)  upstage center 
E)  upstage left
Has the strongest emphasis. 
A)  downstage left 
B)  downstage center 
C)  downstage right 
D)  upstage center 
E)  upstage left
Has the strongest emphasis.

Question 20

Matching :
-______ Business mostly used for entrances and exits.

Accepted Answer

A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement 
A)  Asymmetrical Balance 
B)  Background (scenes of) 
C)  Background Movement 
D)  Business 
E)  Character
F) Character Movement
G) Cinematic
H) Compositional balance
I) Compositional movement
J) Dramatized Emotional Relationships (scenes of)
K) Ideas
L) Incidental Action (scenes of)
M) Language
N) Main Action (scenes of)
O) Major dramatic value
P) Pantomimic dramatization
Q) Picturization
R) Plot
S) Spectacle/Music
T) Story movement
U) Symmetrical Balance
V) Technical movement
W) Tempo
X) Transitional movement

Matching : -______ Used to develop the interaction between characters in a script.

Who has compositional focus in this shot?

The first thing directors do is become as familiar with the script as its writer.

Matching : -______ A major dramatic value that focuses directorial efforts on the delivery of the lines (the words) in the script.

Matching : -______ Balance achieved by equally dividing pictorial weight on each side of the frame.

Matching : -______ Visually interpreting the script for the audience.

Matching : -______ The rate at which a scene's (or a program's) rhythm occurs.

Matching : -______ Used to resolve the main plot problems in the story.

Matching : -______ Action not vital to the plot that can be used for character exposition and other purposes.

In a shot, when Talent A focuses on Talent B, and Talent B focuses on Talent C, you have

Matching : -______ A balance achieved through manipulation of variables other than evenly dividing weight on each side of the picture.

Matching : -______ Movement connected with handling props or to communicate meaning in the scene.

Matching : -______ Business that transports talent and objects from one place to another.

Matching : -______ A major dramatic value that focuses directorial efforts on the development of political/social concepts in the script.

The longest time transition of them all is the

Picturization provides no aid to dialogue in telling the story.

Matching : -______ A major dramatic value that focuses directorial efforts on the development of visual grandeur or the musical performances in the script.

Sitting is a stronger movement than standing up.

All other variables notwithstanding, for an actor,

Matching : -______ Business mostly used for entrances and exits.

The T.V Camera

Camera Lenses and Imaging Systems

Camera Mounts, Camera Operation and Floor Managing

Fundamentals of Composition

Lighting Techniques and Equipment

Audio

Production Switchers and Special Effects

T.V Graphics

Video Recording

Editing: Technology and Techniques

Field Production

Tv Performance

Scriptwriting

Production Design

Directing II: Techniques

Producing

An Overview and Tour

Filters

Exam 15: Directing I: Aesthetics

Matching : -______ Used to develop the interaction between characters in a script.

Who has compositional focus in this shot?

The first thing directors do is become as familiar with the script as its writer.

Matching : -______ A major dramatic value that focuses directorial efforts on the delivery of the lines (the words) in the script.

Matching : -______ Balance achieved by equally dividing pictorial weight on each side of the frame.

Matching : -______ Visually interpreting the script for the audience.

Matching : -______ The rate at which a scene's (or a program's) rhythm occurs.

Matching : -______ Used to resolve the main plot problems in the story.

Matching : -______ Action not vital to the plot that can be used for character exposition and other purposes.

In a shot, when Talent A focuses on Talent B, and Talent B focuses on Talent C, you have

Matching : -______ A balance achieved through manipulation of variables other than evenly dividing weight on each side of the picture.

Matching : -______ Movement connected with handling props or to communicate meaning in the scene.

Matching : -______ Business that transports talent and objects from one place to another.

Matching : -______ A major dramatic value that focuses directorial efforts on the development of political/social concepts in the script.

The longest time transition of them all is the

Picturization provides no aid to dialogue in telling the story.

Matching : -______ A major dramatic value that focuses directorial efforts on the development of visual grandeur or the musical performances in the script.

Sitting is a stronger movement than standing up.

All other variables notwithstanding, for an actor,

Matching : -______ Business mostly used for entrances and exits.

The T.V Camera

Camera Lenses and Imaging Systems

Camera Mounts, Camera Operation and Floor Managing

Fundamentals of Composition

Lighting Techniques and Equipment

Audio

Production Switchers and Special Effects

T.V Graphics

Video Recording

Editing: Technology and Techniques

Field Production

Tv Performance

Scriptwriting

Production Design

Directing II: Techniques

Producing

An Overview and Tour

Filters