"Test Your Film Skill-Level" - very cool!

[Dylan Couper]

Wow, I did so badly I'm going to try again when I'm sober.
(still did better than some here though :)

[John Hudson]

Originally Posted by Charles Papert

Between my not being a great tester (testee?), some "trick" questions (Yi Fong is right, there was a 2-strip Technicolor) and a few I just plain got wrong, I turned in a 65. Oh well.

Was a bit disconsolate until I forwarded it to a DP friend whose last movie had an $80 million budget; he got a 63. We'd both like to think that it's one of those "book smart" type of tests...!

So me getting a 44 is not too shabby afterall! If someone told me I would be 1 point away from a Level 4 Workshop I would have scoffed (I'm still scoffing in fact).

It's all this hanging around dvinfo and dvxuser.

[Krystian Ramlogan]

Hey Christopher.

Sorry man, I think you mis-read my post - well, part of it anyway with your reference to "By the way, saying that you have to shoot "film" or you ain't a filmmaker isn't going to fly today." Which refers to what I said "Learning is supposed to be cumulative, not exclusionary. So how could anyone call themselves a filmmaker if they know absolutely nothing about "film" making which is far more than just the use of "film" to capture an image." Note my words - I said filmmaking is far more than just the use of "film" to capture an image. So in no way was I saying that anyone has to cut film to be a filmmaker - you just mis-read what I said. It's all good though, :-)

As for what you said, I'm not disagreeing with you, I'm only saying I would think it advisable to learn as much about filmmaking as possible to be as skilled as you can be and to be as comfortable in as many different scenarios as possible - sorta like the cub scouts, be prepared!

If I may draw an analogy to painting for a moment: I believe that filmmaking is an artform and painters chose different mediums to create their works. Some painters prefer horse hair, some prefer sable. Some painters like oils, some like acrylics. At the end of the day, it's still art. So whether VHS, DV, HD, Film, is used to create a work by someone it still has merit and it is still a "film."

However, still using painting, the textures one can create and the expression one can achieve with oils or film is greater in some ways (though not more relevant and not in all cases) than water colors or Video. Of course, oils and film are harder mediums to work with and truly bring out the best expression of skill a person or persons can at that moment in time because they demand that dedication.

But, as a painter/filmmaker I would be cheating myself if I did not explore all the mediums there are, to learn what I can do with them, how well I can express my views with each and what adjustments I have to make for each to work for me, and not against me. If I never knew the effects film can create how then could I try to achieve the same with video, since we know that film has greater tolerance for error than video? Even a simple dissolve on film is more organic looking than a video dissolve, yet we have filters today which re-create that look on video: without film we would not have known what we wanted to see and that effect would probably not exist as we know it.

The knowledge the use of celluloid in filmmaking has brought to us is interchangeable whether film stock or video tape is used, but to truly understand why certain things are as they are I believe one must experience both and thereby become stronger, more skilled, better able to achieve their purpose "regardless" of the medium. Experiment, make mistakes, you will benefit from the experience whether film or video is used, but why not benefit from both, instead of one?

Hope you understand my view better?

Hey Lorinda 12 and 40 were just numbers I pulled out of the air, research shows people learn up to the age of 75, at which point you do lose some cognitive ability - hey, I'm a psych major as well :-)

Hey Rainer, I hear you man. I was speaking to a photog friend who just totally went digital; he still likes certain things about traditional film, but said most of his clients never knew the difference so for him it made sense to save money and switch!

As for what's a Barney, isn't it that talking purple dinosaur? Sings some lame-o songs that kids like to sing along to? ;-)

There is this saying I'm sure we've all heard a couple times: "May you live in interesting times." BTW, it is not chinese, contrary to popular opinion. Digital, Film, whatever comes next, I'm just happy to be here and experiencing all of this. The future certainly looks good from where I sit!

Peace.

[Steven Gotz]

http://hawk.fab2.albany.edu/sidebar/sidebar.htm

[Patrick King]

Originally Posted by Dylan Couper

Wow, I did so badly I'm going to try again when I'm sober.
(still did better than some here though :)

Dylan, bragging about beating some of us isn't even enough of an excuse to get drunk again! %~}

[Lorinda Norton]

Originally Posted by Krystian Ramlogan

Hey Lorinda 12 and 40 were just numbers I pulled out of the air, research shows people learn up to the age of 75, at which point you do lose some cognitive ability

Not a problem, Krystian; I just threw that at you for fun because I'm 45. But I'm glad you added that research--it's nice to know that I've got a few years left.

Now if you'll excuse me, I'm going to look back and re-read the definitions of barneys and blimps. I've forgotten what they are. :)

[Yi Fong Yu]

Technically, that IS technicolor. Check out the official info (right from the horse's mouth to speak). click on the 1920s and page2 about Black Pirate:

http://www.technicolor.com/Cultures/...-074298A2CACE}

the initial "technicolor" was a di color process when it began in 1916. then became tri later on in 1926. thus the question in the above "film school" is vastly flawed =). man oh man, i would warn against anyone going to that film school ;).

Originally Posted by Joshua Starnes

That's partially true - the Black Pirate used a di-color process that was the forerunner to Technicolor and led to the invention of what became 'true' Technicolor, but isn't itself actually Technicolor.

[Joe Gioielli]

I got a 33. But most of the stuff I didn't know I knew I didn't know, so did I really get them wrong :)

Neat test
Joe

[Patrick King]

Joe, your comment reminds me of Johari's Window. The four panes in the window are:

1. Things I Know
2. Things I Don't Know That I Know
3. Things I Know I Don't Know
4. Things I Don't Know I Don't Know

The panes are typically arranged:
1 2
3 4

The idea is to be self-aware of the information and topics you know and don't know. Obviously, like me, you were aware that there was much content in pane number three.

[Yi Fong Yu]

patrick, in that case, i would be on the 5th panel of "duuuuuuuh, i dunno man." =).

[Patrick King]

Originally Posted by Yi Fong Yu

patrick, in that case, i would be on the 5th panel of "duuuuuuuh, i dunno man." =).

The quiz kinda made me feel like someone had opened the window and I just fell out. But, it did put more things in the first pane (fun teaching tool) and it also reinforced just how LARGE the fourth pane is for me, which was probably why that film school was offering it. Dang, suckered in by another brilliant marketing strategy.

[Jesse Bekas]

Ouch...42. Do I need to go back to school?

[Charles Papert]

One of the courses "recommended" to me at the end of that quiz was the Steadicam workshop, which is mildly amusing in that I used to help teach that particular class there in the mid 90's.

Whether or not all of the questions are properly phrased etc., I will say that the Rockport workshops are a great experience and unlike many film schools, all of the instructors are working professionals in their field. It's a great immersion into filmmaking, and an excellent environment, like summer camp for adults!

[Tom Wills]

I took it a while ago and got in the high 60s, and I've never been to film school. Hell, I'm 15!

Even I'm confused by how well I did.

[Charles Papert]

What th'--15??! That's...something else.

OK Tom, if you're THAT good, here's a couple more for you--and no looking up the answers elsewhere! (everyone else, feel free to take a whack!)

1) With a film camera, what is the most transparent way to alter the depth-of-field from shallow to deep focus as an in-camera effect?

a) Speed/shutter ramp
b) Shutter/iris ramp
c) Rack focus
d) Iris pull

2) From which other camera manufacturer did Panavision base the movement for the Panaflex?

a) Arriflex
b) Kodak
c) Mitchell
d) Pathe

3) If a shot is "buzzed", does that mean that it:

a) is over-exposed
b) has vibration in it
c) has interference in the image
d) is out of focus

4) What is the exposure compensation for an 85N.9 filter:

a) 3 1/3 stops
b) 3 1/2 stops
c) 3 2/3 stops
d) 4 stops

5) On a standard geared head, the right hand controls which camera axis:

a) pan
b) tilt
c) roll
d) zoom

6) Reciprocity failure can occur a result of:

a) short exposure only
b) long exposure only
c) both short and long exposures
d) incorrect storage of processed stock

7) Which of the following camera stabilizers has integral gyros:

a) Tyler Middle Mount
b) Weaver/Steadman head
c) Steadicam
d) Wescam

8) Which of the following does NOT affect camera strobing during a pan:

a) iris setting
b) pan speed
c) focal length
d) shutter angle

9) Bonus: which modern motion picture camera was named after a woman that worked in the shipping department at the factory?