1. The production recordist’s main goal is to: (p. 212)
a. make sure the logistics of the audio personnel are coordinated with those of the picture personnel
b. do a complete site survey for sound
c. coordinate all audio equipment and personnel on the set
d. record dialogue that is clear, intelligible, and as noise-free as possible

2. The recommended way to create perspective in radio dramatizations using the single-microphone technique is to: (p. 212)
a. move the microphone in relation to the performer’s movements
b. position the performers around the microphone and have them create perspective
by positioning themselves at appropriate distances
c. use the X-Y microphone array
d. use a multidirectional microphone on a boom mount

3. Stereo requires two discrete signals: (p. 214)
a. one channel is added (A+B) to another channel (A+B)
b. one channel is subtracted (A+B) and the other channel is summed (A-B)
c. the two discrete signals are summed in mono and subtracted in stereo
d. one channel is summed (A+B) and the other channel is subtracted (A-B)

4. The coincident microphone array: (p. 214)
a. positions two microphones horizontally on the same plane angled a few inches apart
b. positions two spaced microphones a few feet apart
c. positions two microphones in virtually the same space with their diaphragms located vertically on the same axis
d. positions an X-Y microphone array a few to several inches apart

5. One of the following is not a consideration when using the boom mic: (p. 216)
a. pickup of clothes rustle from the types of fabrics and costumes worn by the
performers
b. boom shadow falling across the set
c. positioning the boom at mic-to-source distances relative to the fields of view of the
shots
d. making sure the boom can move freely in the set

6. In staged productions, which microphone mount produces the most realistic spatial perspective? (p. 216)
a. boom
b. body-mounted wireless mic
c. plant mic
d. handheld mic

7. One of the following is not true about the tripod (giraffe) boom: (p. 217)
a. it is lightweight
b. it is subject to shock and vibration
c. its boom arm reach is similar to that of the fishpole boom in that it can be telescoped easily
d. to change mic-to-source distance during shooting, the entire tripod has to be rolled in or rolled out

8. Most actors prefer automated dialogue replacement to production recording because: (p. 234)
a. it gives them the opportunity to refine their performance
b. being in an ADR studio is less hectic than being on the set
c. it is less tedious
d. none of the above

9. Compared to proximity-prone lavaliers, transparent lavaliers: (p. 224)
a. have a more open and natural sound
b. tend to add presence to close dialogue
c. reject background sound
d. are directional

10. Which of the following is not an influence of nonverbal speech on meaning?
a. Accent
b. Pace
c. Inflection
d. movement

11. A plant microphone is also referred to as a: (p. 226)
a. desk mic
b. set mic
c. fill mic
d. fixed mic

12. ADR is not often used in dialogue production (p.234)
a. true
b. false

13. Noise reduction is important during each stage of the production process, even if it means bringing noise reducers on-location. (p. 232)
a. true
b. false

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