A) Filming real-time action at a very slow frame rate. B) Using special effects software to simulate movement. C) Painting images directly onto film. D) Creating the illusion of movement by photographing incremental changes.
A) 24 frames per second (fps) B) 30 frames per second (fps) C) 120 frames per second (fps) D) 60 frames per second (fps)
A) Wireframe B) Inflatable C) Ball-and-socket D) Solid plastic
A) Cardboard B) Concrete C) Sculpey or other modeling clay D) Wood
A) Replacing the animator frequently. B) Replacing broken puppets during production. C) Replacing the background in each shot. D) Using different models for each frame to show change.
A) A lighting technique. B) Overlaying previous frames to help with positioning. C) The process of removing imperfections from a frame. D) A type of puppet construction material.
A) A type of adhesive. B) A knot used in rigging. C) A type of knot in string. D) A method of securing puppets to the set.
A) Using only natural light. B) Changing the lighting setup with each shot. C) Using primarily strobe lighting. D) Using lights that don't flicker or change color temperature.
A) To synchronize audio and video in post-production. B) To measure the distance to the subject. C) To protect the lens from dust. D) To hold the camera steady.
A) To make animation more believable and engaging. B) To design puppets. C) To calculate the frame rate. D) To choose the right software.
A) Dragonframe B) Adobe Illustrator C) AutoCAD D) Microsoft Word
A) A type of camera lens. B) A method of cleaning clay puppets. C) Tracing over live-action footage frame by frame. D) A lighting technique for clay animation.
A) To reduce the weight of the camera. B) To allow for dynamic camera angles. C) To make the camera easier to move. D) To prevent unwanted camera movement.
A) Maintaining consistent movement and form. B) Finding the right materials. C) Keeping it clean. D) Attaching it to the puppet.
A) To control the movement of the puppets. B) To automate camera movements for repeatable shots. C) To stabilize the lighting. D) To reduce the need for an animator.
A) A lighting technique. B) A method of cleaning clay puppets. C) A type of animation clay. D) Generating intermediate frames between keyframes.
A) Increased depth of field B) Motion blur C) Reduced noise D) Sharper image
A) Taking the photographs. B) Sculpting the puppets. C) Adding sound, music, and visual effects. D) Building the set.
A) To diffuse light. B) To shape and direct light. C) To measure light intensity. D) To change the color of light.
A) It is difficult to learn. B) It is a time-consuming process. C) It requires expensive equipment. D) It is technically complex.
A) A type of puppet material. B) The apparent displacement of objects viewed along two different lines of sight. C) A technique to create realistic shadows. D) A type of camera lens.
A) The feeling of the armature through the puppet's skin. B) Damage to the armature from overuse. C) The sound the armature makes when moved. D) The locking strength of the puppet's armature.
A) To show the client the progress of the project. B) To copy other animators' styles. C) To study real-world movement for accuracy. D) To save time animating.
A) Computer animation B) Hand-drawn animation C) Motion capture D) Stop-motion animation
A) To keep the animator healthy. B) To avoid damaging the equipment. C) To improve the morale of the crew. D) To prevent unwanted dust and imperfections from appearing in the animation.
A) A software tool for rendering. B) A type of armature repair. C) The smooth transformation of one shape into another. D) A method for creating textures.
A) To choose the right actors. B) To market the animation project. C) To plan the shots and sequence of events. D) To create a final version of the animation.
A) Fixing a broken armature. B) Creating a background set. C) Planning the character's movement and positioning within a scene. D) Preventing light from reaching a certain area.
A) Fisheye lens B) Macro lens C) Wide angle lens D) Telephoto lens
A) The effect of gravity on an object B) The name of a brand of modelling clay C) The desired floating of a character D) Unintentional movement of the set or puppets between frames. |