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2D2 SA2
| Question | Answer |
|---|---|
| M3 | |
| It provide a road map for shifts in color, lightening, emotion, and moods in film, plus providing the help to visualize the whole movie. Color palette Color mood Color style Color scripts | Color Scripts |
| Value and color can enhance a scene or a film through various color palettes, tones, contrast, and hues. True False | False |
| Monochromatic color schemes are derived from a _________ hue and extended using its shades, tones, and tints. Pure color Single base Contrast Color value | Single base |
| Analogous colors are any three colors which are _________ in the color wheel. Contrast Adjacent Valued | Adjacent |
| Color script is an animation term has popularized by Pixar and it’s become a quite valuable tool for them, it’s an early attempt to map out the color, lightening, emotion, and moods in film. True False | True |
| The high contrast of complementary colors create a dull look especially when used at full saturation True False | False |
| This color scheme uses colors that are evenly spaced around the color wheel. Analogous Complementary Tetradic Triadic | Triadic |
| To use a triadic harmony successfully, the colors should be carefully balanced - let two colors dominate and use the other for accent. True False | False |
| Colors that are opposite each other on the color wheel are contrasting colors. True False | True |
| The high contrast of _________ colors create a vibrant look especially when used at full saturation. Analogous Tetradic Complementary Triadic | Complementary |
| Colors when used correctly can guide the viewer’s eyes to what’s important in the scene. True False | True |
| Backgrounds must support the _________ of the story. sequence Characters Plot Narrative | Narrative |
| Allow to map out the experience from start to finish. Color palette Color scripts Color style Color mood | Color Script |
| Triadic color scheme uses colors that are evenly spaced around the color wheel. True False | True |
| The high contrast of complementary colors creates a vibrant look especially when used at full saturation. True False | True |
| This color scheme has the same strong visual contrast as the complementary color scheme but has less tension. Triadic Complementary Split-complementary Tetradic | Split-complementary |
| There are four overlay types: Text, Image, ________, and Shape. Dynamic text Line Form | Dynamic Text |
| When color is fully saturated, the color is considered in purest version. True False | True |
| It refers to the lightness or darkness of the color. Color value Contrast Hue Saturation | Color Value |
| Other name for complementary colors is contrasting colors. True False | True |
| When color is fully saturated, the color is considered in _______ version. Color value Contrast Purest Dull | Purest |
| The colors of Genie in Aladdin is complementary colors. True False | False |
| The color schema varies to coincide with emotional beats and story arcs in a film. Color scripting Color mood Color palette Color style | Color Scripting |
| We can use colors to tell the story or completely change the mood of the scene entirely. True False | True |
| ________ and color can enhance a scene or a film through various color palettes, tones, contrast, and hues. Text Line art Mood Lighting | Lighting |
| Red, yellow-green and blue-green are triadic colors. True False | False |
| An ___________ is a non-animated layer of artwork that helps to create depth. overlay/underlay layer “0” perspective | Overlay/underlay |
| It refers to the intensity of color in an image. In technical terms, it is the expression of the bandwidth of light from a source. Purity Hue Contrast Saturation | Saturation |
| As the saturation decreases, the colors appear to be more washed-out or pale. True False | True |
| It sets the stage and atmosphere for a scene and for everything in that setting. Environment Lay-out scene Background Storyboard panel | Background |
| As a background designer you need strong fundamentals of ___________ along with atmospheric light/shadow. Color Perspective Style History | Perspective |
| Saturation refers to the lightness or darkness of the color. True False | False |
| ________ are achieved by adding white and shades and tones are achieved by adding a darker color, grey or black. Hue Shade Tints Tone | Tints |
| Triadic color scheme has the same strong visual contrast as the complementary color scheme but has less tension. True False | False |
| There are four overlay types: Text, Image, ________, and Shape. Form Dynamic text Line | Dynamic Text |
| Complementary colors are good for text. True False | False |
| This, changes based on map properties such as time, range, or camera viewpoint during animation playback. Overlay Dynamic text Underlay Static text | Dynamic text |
| The _______ color scheme is with all four colors spaced evenly around the color circle. Square Analogous Rectangle Split-complementary | Square |
| In addition to color, shape, and light they consider texture, movement, contrast, lines and the __________ Rule of thirds Style Panel Characters | Rule of Thirds |
| These are on-screen elements that add detail and information to your animation's keyframes. Underlays Text Overlays | Overlays |
| It is the scenery around, or on top of, where the animation happens. Environment Background Lay-out scene Storyboard panel | Background |
| M4 | |
| The positioning of characters in each scene for maximum emotional content and clear readability of actions. Lay out Storyboard Staging Posing | Staging |
| This movement is commonly used in action scenes or to capture a feeling of sickness and dizziness. Pan Roll Dutch tilt Dolly | Roll |
| In today’s day and age, bird’s eye view shots are most captured with a drone to be able to get the full view of what is happening down below. True False | True |
| It shows the television cut off. Outer line Inner line Black line Blue line | Inner Line |
| Wide shot is a type of shot often used at the beginning of the film. True False | False |
| The narrative storyboard provides uses a _______ of images to tell a more complete story, where each image in the storyboard represents a particular event. Sequence Angles Movements Story | Sequence |
| In the field guide it is known as the safety zone. TV cut off Red line Black line B line | TV Cut Off |
| Each panel's sketch clearly communicates to an audience the important ideas expressed through the action of each scene. Lay out Storytelling Movements Staging | Storytelling |
| Over the shoulder angle is used, is to increase the perceived height of an object-- as when something is filmed from a low angle is causes it to appear quite larger than it is. True False | True |
| These depict many elements like the poses and expressions of the characters, as well as how the scenes will cut and how close (or far) the camera is to the subject. Storytelling Staging Movements Lay out | Storytelling |
| A pedestal shot involves moving the camera vertically on a fixed location. True False | True |
| This is all compromised of different types of shots, framing / editing principles, and scene transitions, and how they are used by filmmakers to help tell a story. Staging Movements Storytelling Lay out | Storytelling |
| An _________ is a string of storyboard images edited together with timing, camera movements and angles, shots and sound were applied to illustrate how a sequence will flow in motion. Animatic Storyboard Pitch scene Panels | Animatic |
| The long shot, also known as the wide shot. True False | True |
| It is a long piece of artwork that has more than one 12 FLD page in length. 16 fld. Strip Panel Pan | Pan |
| Animatics provides a fuller sense of what the finished project will look like. True False | True |
| This shot is often used to indicate to the audience that they should pay attention to a certain motif or symbol that is being carried throughout the film. Medium shot Close up Wide shot Extreme close up | Close up |
| POV is used to highlight specific details or actions, such as being threatened or seeing their reflection in the mirror. True False | True |
| This shot where the camera turns from side to side without changing its position. Pan shot pedestal Dolly Truck | Pan shot |
| Capturing the shot at eye-level offers a neutral perception of the subject. True False | True |
| All the panels get strung together in a slideshow with the voice actors saying their lines in conjunction to the scenes. Panels Strips Animatics Scenes | Animatics |
| It shows the field size. Inner line Black line Outer line Red line | Outer Line |
| Low angle shot causes the audience to have a subjective camera view by asserting themselves to have the viewpoint of the person in ‘power’. True False | False(High Angle) |
| Narrative storyboard is a variation of the cinematographic _________ found in planning animation, movies, and advertisement. storyboard camera angles camera shots camera movement | Storyboard |
| In graticule: Horizontal measurements = blocked in _____ sections. ¼ Inch ¾ ½ | Inch |
| The peg bar ruler is for _______. Measure the distance of run Measure the distance of walk Measure the distance of BG Measure the distance of pan | Measure the distance of pan |
| This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, and the angle & position of the camera. In live action this is referred to as 'Blocking'. Storyboard Staging Lay out Posing | Staging |
| This is how you plan out the length of every shot and sequence and ultimately time out the length of the entire episode or film. Scene Panel strip Animatics | Animatics |
| This shot is a powerful way to convey the emotion that your subject is feeling, without the need of the character saying much. Over the shoulder Extreme close up Cowboy shot Close up | Close Up |
| In animation and special effects work, the storyboarding stage is followed by a mock-up called ___________ to give a better idea of how the scene will look and feel with motion and timing. strips Animatics Panels Scenes | Animatic |
| POV allows the audience to put themselves in the shoes of the subject. True False | True |
| The ratio aspect of grid system for television. 1:3/4 1:1/8 1:1/4 1:1/2 | 1:3/4 |
| This type of camera shot, shows the full length of the subject while also including a large amount of the surrounding area of the film setting. Extreme long shot Wide shot Close-up | Wide Shot |
| This type of shot is often referred to a choker as well, which is when a shot is framed just above the eyes and right below the mouth. Cowboy shot Extreme close up Over the shoulder Close up | Extreme Close Up |
| The camera itself is moving, the result allows viewers to feel as if they are also moving across the scene. Pan Dolly pedestal Truck | Truck |
| The storyboard is essentially a large ____________ of the film, or some section of the film produced beforehand to help directors, cinematographers to visualize the scenes and find potential problems before they occur. Comic strip Scenes Actions | Comic strip |
| POV shot can be used to indicate to the viewer that a specific character in the film sees something that the other characters might not yet see. True False | False(Over the shoulder) |
| Bird’s eye view is commonly used to capture tall elements in the scene, such as trees or skyscrapers, and put them in perspective. True False | False(Worm's Eye View) |
| This Dutch angle is used mostly to create a dramatic effect within a film and can evoke a series of different emotions. True False | True |
| The ratio aspect of grid system for wide screen. 1:9/18 1:9/14 1:9/16 1:3/4 | 1:9/16 |
| It refers to the purpose of directing 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. movement Staging Story Angle | Staging |
| ________ were adapted from the film industry to business for planning projects intended to convince or compel an audience to action, and to pitch a concept to the client. Animatics Scenes Storyboard panels | Storyboard |
| It is often used for back-and-forth dialogue within a scene as it allows the viewer to have a solid view of each character within a film. Medium shot Long shot Close up Over the shoulder | Medium Shot |
| In graticule: Vertical measurements = are blocked in _____ of an inch. ¾ ½ 1/16 1/8 | 3/4 |
| Low angle evokes a psychological effect by making the subject above, which the camera is angled at, look strong and powerful. True False | True |
| Point of View is the way in which we usually see people, this camera angle can help the audience connect with the subject. True False | False(Eye Level Shot) |
| This shot can help the viewer depict the body language of the characters in the film and how they are interacting with the environment around them. Medium shot Over the shoulder Close up Long shot | Medium Shot |
| It is tightly framed and takes up most of the screen, as it is usually used to frame a character’s face for the audience to see what type of emotion is being conveyed. Wide shot Cowboy shot Extreme close up Close up | Close Up |
| Dutch tilt, the footage is gyrated up to 180°. True False | False(Roll) |
| Tilting is a type of shot in films in which the camera is moved vertically on a fixed base. Truck Tilt Dolly Pan | Tilt |
| The grid system of the graticule is used to accurately create field guides in the __________ department. Background Animation storyboard Lay out | Layout |
| The peg bar ruler is for _______. Measure the distance of pan Measure the distance of walk Measure the distance of run Measure the distance of BG | Measure the distance of pan |
| On a dolly shot, the camera is attached to a wheeled device and smoothly moves back and forth. Pan Dolly pedestal Truck | Dolly |
| The maximum TV graticule grid system. 42 fld. 16 fld. 12 fld. 32 fld. | 12fld |
| In traditional animation, a background layout is the _____________ of the background for a scene. moodboard environment basic line drawing | line drawing |
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