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2D // FA9
FA9
| Question | Answer |
|---|---|
| The tracing department in the traditional animation is part of what production. | production |
| The model sheet is where you can find the turn-around of the character. -- T / F | True |
| We call water, flames, lights as special elements. --T/F | False |
| On Digital Ink and Paint all registration lines should be in black lines. --T/F | True |
| In the production of the production pipeline of the western animation is where you can find the dubbers ready to work on. --T/F | False |
| The storyboard of animation is started and finish on this pre-production of production pipeline. --T/F | True |
| It is in post-production where digital ink and paint can be found --T/F | False |
| On the job of the Clean-up, this kind of drawing of the character is the reference they use. | Model sheet |
| He is responsible for all the actions beyond the key drawings created. | In-betweener |
| He is responsible to keep the characters on key drawings on-model, on-proportion without losing its appeal, emotions and expressions it wants to convey on the viewers. | Clean-up |
| In 2D animation the creative director is the one responsible for the total outcome of the scene. --T/F | True |
| The In-betweening department is on post-production. | False |
| For the traditional techniques, this could mean making models, creating sets, preparing film rolls or recording of dialogue, and these are done in the ____________. | Pre-production |
| He is the one responsible to animate water, flames, wind and light. | special effects animator |
| The turn-around of the character can be find on ___________. | Model sheet |
| In developing animation it is a big factor to consider the target audience. -T/F | True |
| Filling-out all the columns of the exposure sheet will be done on the production. --T/F | False |
| Router sheet is the other name for storyboard. --T/F | False |
| In animation, he is essentially the director’s manager. His or her job is to keep a tight rein on the administrative side of the production, ensuring that the budget and scheduling are being kept under control and that the creative team has everything the | Producer |
| the props color and other small detail should be color style by the Ink and Paint Department. --T/F | False |
| Development of the storyboard is on this branch of production pipeline. | Pre-production |
| Surrounding is the 2D and traditional animation counterpart of the 3D environment. --T/F | False |
| There are three types of audio, these are ______________________. | speech, music and sound effects |
| In 2D and 3D animation we have the compositing department and its counterpart in the traditional is ____________. | animation checking |
| Since 3D animation is move with mathematics, the principles of animation are not needed on it. --T/F | False |
| Router sheet is developed on production of production pipeline. --T/F | False |
| He is the animator who specializes in the movement of graphics and titles within a production. | graphic animator |
| The character animator is the one responsible for bringing to life, the performance and personality to the characters in the production. --T/F | True |
| In traditional animation, the lay-out department is the one responsible for the background and scene. | True |
| He is the right hand man of the producer, doing the daily chores that relate to animation filmmaking, such as checking the progress of each department on the on-going show or production. | Production manager |
| He is the one responsible for bringing to life, the performance and personality to the characters in the production. | Character animators |
| 2D animation also use exposure sheet. --T/F | True |
| Graphic animator is the one responsible on the animation of credits and other details beyond the body of the film of animation. --T/F | True |
| The Clean-up is responsible for the actions created by the animator. --T/F | False |
| The producer's job is to keep a tight rein on the administrative side of the production, ensuring that the budget and scheduling are being kept under control and that the creative team has everything they need. --T/F | True |
| It is a diagram used to visually organize information and often created around a single concept where associated representations of ideas such as images, word and parts of words are needed. | Mind Map |
| The character is riding in a train; the exposure sheet said that the background is also moving. On what direction that the background is moving? - opposite direction of the characters - opposite direction of the train - same direction as the train | opposite direction of the train |
| In-betweening is on this production pipeline. | production |
| Digital Ink and Paint is on this production pipeline | production |
| He is the creative top gun responsible for the creative vision and interpretation of the project. | Creative Director |
| In the audio; it adds depth and realism to the animation. | Sound Effects |
| The animation checking department of the traditional animation is the counterpart of the compositing department of 2D and 3D animation --T/F | True |
| On Ink and Paint Department all registration lines should be trace. --T/F | True |
| It is the counterpart of the environment in the traditional animation. | Background |
| The Key Backgrounds are created on what production? | Pre-Production |
| It is the department that color correct everything in every scene of the animation. | Color Style |
| Artistic and drawing ability are needed degree for traditional and 2D animation. --T/F | True |
| For 2D animation, how many directors are needed in the production? | 2 |
| In 2D animation he is the director responsible for all the separations and layers of each scene. | Technical director |
| What do we call these elements, water, flames, glowing lights and shadows? | Special Effects |
| The "Production Manager" is the creative top gun responsible for the creative vision and interpretation of the project --T/F | False |
| In the traditional animation, we can see the dialogue of the character/s on what column? | Director's Column |
| In traditional animation where the characters are photocopied on the acetate; which part of the character should be paint first. | Small Areas |
| In 2D animation the counterpart of Lay -out is scene build. | True |
| The lay-out department is in what production pipeline? | Production |
| This is where the characters for dubbing comes in and voice and act for the animation characters. | Pre-Production |
| Animation storyboard should be sketches and does not need to be detailed. --T/F | True |
| The model animator is the one responsible for the animation of flames, wind, lights and dust. --T/F | False |
| It is in post-production where digital ink and paint can be found. --T/F | False |
| The Japanese dubbing is on this production pipeline | Post-Production |
| Sound effects in western animation is on what production pipeline. | Post-Production |
| The turn-around of the character can be find on _____. | Model Sheet |
| An In-betweener is the person whose responsibility is to do all the actions inbetween the key drawings and make it a point that the action is the same path that the animator wanted --T/F | True |
| For the traditional techniques, this could mean making models, creating sets, preparing film rolls or recording of dialogue, and these are done in the ______. | Pre-Production |
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makkian
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