Test your basic knowledge |

Subject : it-skills
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Adding these to the main action gives a scene more life - and can help to support the main action. A person walking can simultaneously swing his arms or keep them in his pockets - he can speak or whistle - or he can express emotions through facial ex






2. 1.) The velocity of a body remains constant unless the body is acted upon by an external force. 2.) The acceleration (a) of a body is parallel and directly proportional to the net force (F) and inversely proportional to the mass (m) - F = ma 3.) The






3. This principle means taking into account forms in three-dimensional space - giving them volume and weight. The animator needs to be a skilled draughtsman and has to understand the basics of three-dimensional shapes - anatomy - weight - balance - ligh






4. An early motion picture device that provided viewing to one person at a time. Worked on the same principle as the flip book. Quickly dominated the coin-in-the-slot "peep-show" business.






5. In typography - it is a slight projection finishing off a stroke of a letter.






6. An American film producer - director - screenwriter - voice actor - animator - entrepreneur - entertainer - international icon - and philanthropist - well-known for his influence in the field of entertainment during the 20th century. Along with his b






7. Considered the most important principle. Gives a sense of weight and flexibility to drawn objects - In realistic animation - the most important aspect of this principle is the fact that an object's volume does not change when the effect is applied. I






8. Invented by French scientist Charles-mile Reynaud - it was a more sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images placed on the inside of a spinning cylinder - but instead of viewing it through slits - it






9. Most natural action tends to follow an arched trajectory - and animation should adhere to this principle by following implied "arcs" for greater realism. This can apply to a limb moving by rotating a joint - or a thrown object moving along a paraboli






10. The earliest elementary form of this device was created in China around 180 AD. The modern device was produced in 1834. The device is essentially a cylinder with vertical slits around the sides. Around the inside edge of the cylinder there are a seri






11. This is when the animation is created first - then audio is added later. Sound effects are used to complement the spatial and temporal settings established by the visuals.






12. An 1908 French animated film by Amile Cohl. It is one of the earliest examples of traditional (hand-drawn) animation - and considered by film historians to be the first animated cartoon.






13. An Australian cartoonist - pioneer animator and film producer - best known for producing the first Felix the Cat silent cartoons.






14. An animation technique in which key poses are created to establish timing and placement of characters and props in a given scene or shot.






15. In a cartoon character this corresponds to what would be called charisma in an actor. A character who has this characteristic is not necessarily sympathetic villains or monsters can also be appealing the important thing is that the viewer feels t






16. The speed of an action gives meaning to movement - both physical and emotional meaning. The animator must spend the appropriate amount of time on the anticipation of an action - on the action - and on the reaction to the action. If too much time is s






17. The phenomenon of the eye by which an afterimage is thought to persist for approximately one twenty-fifth of a second on the retina.






18. A sound-track or music that has not been carefully timed to fit the picture. Music and animation are both "time arts" and will thus eventually synchronize at random points.






19. This is a silent cartoon by J. Stuart Blackton released in 1906. It features a cartoonist drawing faces on a chalkboard - and the faces coming to life. It is generally regarded by film historians as the first animated film.






20. In this type of animation - the animator plans his action - figuring out just what drawings will be needed to animate the scene. This is used for animation that requires good acting - where poses and timing are important.






21. Renderings of a character standing in multiple positions including facing front - 3/4 front - profile - 3/4 rear - and rear.






22. In typography - it refers to the distance between the baselines of successive lines of type.






23. Used to prepare the audience for an action - and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less p






24. Where a character starts to move and parts of him take a few frames to catch up.






25. A French caricaturist who made "Fantasmagorie" which is considered to be the first fully animated film ever made. It was made up of 700 drawings - each of which was double-exposed - leading to a running time of almost two minutes.






26. It is called this because an animator literally works directly from the first drawing in the scene. This process usually produces drawings and action that have a fresh and slightly zany look - because the whole process is kept very creative. This tec






27. A drawing that defines the starting and ending points of any transition.






28. A spinning disc attached vertically on a handle. Around the center of the disc a series of pictures was drawn corresponding to frames of the animation; around its circumference was a series of radial slits. The user would spin the disc and look throu






29. The classical definition - employed by Disney - was to remain true to reality - just presenting it in a wilder - more extreme form. Other forms of of this technique can involve the supernatural or surreal - alterations in the physical features of a c






30. In typography - it is the process of uniformly increasing or decreasing the space between all letters in a block of text.






31. The rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement.






32. An animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames - creating the illusion of movement when the series of frames is played as a co






33. This is an acclaimed book - 1981 - by Ollie Johnston and Frank Thomas. It is widely considered to be one of the best books ever published on the topic of character animation.






34. The movement of the human body - and most other objects - needs time to accelerate and slow down. For this reason - animation looks more realistic if it has more drawings near the beginning and end of an action - emphasizing the extreme poses - and f






35. A 1937 American animated film produced by Walt Disney. Based on the German fairy tale by the Brothers Grimm - it is the first full-length cel-animated feature in motion picture history - the first animated feature film produced in America - the first






36. A book with a series of pictures that vary gradually from one page to the next - so that when the pages are turned rapidly - the pictures appear to animate by simulating motion or some other change.






37. They have a beginning (setup) middle (conflict) and end (resolution). Oftentimes - in the end the character achieves the goal and better understands themselves.






38. The tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on).






39. This principle's purpose is to direct the audience's attention - and make it clear what is of greatest importance in a scene; what is happening - and what is about to happen. Johnston and Thomas defined it as "the presentation of any idea so that it






40. An American animator. He was a pioneer in the development of the animated cartoon. He brought such animated characters as Betty Boop - Koko the Clown - Popeye - and Superman to the movie screen and was responsible for a number of technological innova






41. Helps render movement more realistic and gives the impression that characters follow the laws of physics. Exaggerated used of the technique can produce a comical effect - while more realistic animation must time the actions exactly to produce a convi






42. A French illusionist and filmmaker famous for leading many technical and narrative developments in the earliest days of cinema. He was a prolific innovator in the use of special effects - accidentally discovered the substitution stop trick in 1896 -






43. Directs the audience's attention and makes it clear what is of greatest importance in a scene. Presents the idea in a complete and unmistakable method. Keeps the focus on what is relevant and avoids unnecessary detail.






44. A Russian and French stop-motion animator who used insects and other animals as his protagonists.






45. The most important principle is this - the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects - like a bouncing ball - or more complex constructions - like the musculature of a human fa






46. Separate parts of a body will continue moving after the character has stopped.






47. Two different approaches to the actual drawing process. One draws out a scene frame by frame from beginning to end. One involves starting with drawing a few key frames and then filling in the intervals later. One is best for creating a more fluid - d






48. Adds more frames near the beginning and near the end of a movement - and fewer in the middle - to make the animation appear more realistic. This principle applies to both characters moving between two extreme poses and inanimate - moving objects.






49. An early motion picture exhibition device. Though not a movie projectorit was designed for films to be viewed individually through the window of a cabinet housing its componentsit introduced the basic approach that would become the standard for all






50. Acknowledged by people everywhere as having some deep or central relevance to everyone. They might have to do with life in general - human nature - faith - courage - basic life transitions - love - loss - and any number of other things.