A) Using special effects software to simulate movement. B) Filming real-time action at a very slow frame rate. C) Painting images directly onto film. D) Creating the illusion of movement by photographing incremental changes.
A) 30 frames per second (fps) B) 24 frames per second (fps) C) 120 frames per second (fps) D) 60 frames per second (fps)
A) Solid plastic B) Inflatable C) Ball-and-socket D) Wireframe
A) Cardboard B) Sculpey or other modeling clay C) Wood D) Concrete
A) Replacing broken puppets during production. B) Using different models for each frame to show change. C) Replacing the background in each shot. D) Replacing the animator frequently.
A) A lighting technique. B) Overlaying previous frames to help with positioning. C) A type of puppet construction material. D) The process of removing imperfections from a frame.
A) A knot used in rigging. B) A type of adhesive. 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 hold the camera steady. B) To synchronize audio and video in post-production. C) To protect the lens from dust. D) To measure the distance to the subject.
A) To calculate the frame rate. B) To design puppets. C) To choose the right software. D) To make animation more believable and engaging.
A) AutoCAD B) Adobe Illustrator C) Dragonframe D) Microsoft Word
A) A lighting technique for clay animation. B) Tracing over live-action footage frame by frame. C) A type of camera lens. D) A method of cleaning clay puppets.
A) To make the camera easier to move. B) To allow for dynamic camera angles. C) To reduce the weight of the camera. D) To prevent unwanted camera movement.
A) Finding the right materials. B) Attaching it to the puppet. C) Maintaining consistent movement and form. D) Keeping it clean.
A) To automate camera movements for repeatable shots. B) To reduce the need for an animator. C) To control the movement of the puppets. D) To stabilize the lighting.
A) A method of cleaning clay puppets. B) A lighting technique. C) A type of animation clay. D) Generating intermediate frames between keyframes.
A) Increased depth of field B) Reduced noise C) Sharper image D) Motion blur
A) Building the set. B) Taking the photographs. C) Adding sound, music, and visual effects. D) Sculpting the puppets.
A) To diffuse light. B) To shape and direct light. C) To change the color of light. D) To measure light intensity.
A) It is difficult to learn. B) It requires expensive equipment. C) It is a time-consuming process. D) It is technically complex.
A) A technique to create realistic shadows. B) A type of camera lens. C) A type of puppet material. D) The apparent displacement of objects viewed along two different lines of sight.
A) Damage to the armature from overuse. B) The locking strength of the puppet's armature. C) The feeling of the armature through the puppet's skin. D) The sound the armature makes when moved.
A) To study real-world movement for accuracy. B) To copy other animators' styles. C) To show the client the progress of the project. D) To save time animating.
A) Motion capture B) Computer animation C) Stop-motion animation D) Hand-drawn animation
A) To avoid damaging the equipment. B) To improve the morale of the crew. C) To keep the animator healthy. D) To prevent unwanted dust and imperfections from appearing in the animation.
A) A type of armature repair. B) The smooth transformation of one shape into another. C) A method for creating textures. D) A software tool for rendering.
A) To create a final version of the animation. B) To choose the right actors. C) To plan the shots and sequence of events. D) To market the animation project.
A) Fixing a broken armature. B) Planning the character's movement and positioning within a scene. C) Preventing light from reaching a certain area. D) Creating a background set.
A) Fisheye lens B) Macro lens C) Telephoto lens D) Wide angle lens
A) The effect of gravity on an object B) Unintentional movement of the set or puppets between frames. C) The name of a brand of modelling clay D) The desired floating of a character |