MART 420 – Introduction to 3D Animation & Modeling I

Final Exam
Spring 2009

1. Right-clicking on an object bring up the:
A. Hotbox
B. Channel Box
C. Marking Menu
D. Option Box

2. Orthographic views contain no perspective – parallel lines always remain parallel.
A. T
B. F

3. In a default four-view layout, the four default views are:
A. Top, left, front, and perspective
B. Top, front, perspective, and side
C. Side, top, perspective, and UV
D. Front, side, perspective and camera

4. To access the hotbox, you:
A. Right click over an object in the scene
B. Press and hold the spacebar
C. Select the small box at the end of a menu selection
D. Do nothing; the hotbox is constantly available on the main interface

5. The view manipulation tool that doesn’t work in an orthographic view is:
A. Move tool
B. Zoom tool
C. Tumble tool
D. All view manipulation tools work in an orthographic view

6. Except in rare cases, when extruding faces you want “keep faces together”:
A. On
B. Off

7. NURBS models are essentially rectangular patches deformed into the desired shape.
A. T
B. F

8. When polygonal modeling, it’s best to start out with a highly detailed shape so you have more vertices and faces to work with.
A. T
B. F

9. A common practice in polygonal character modeling is to model only half the character and mirror the geometry to complete the model.
A. T
B. F

10. Even in single-mesh characters, eyes are usually modeled as separate elements.
A. T
B. F

11. The NURBS function that creates a shape by connecting two curves is:
A. Offset curve
B. Loft
C. Revolve
D. Boundary

12. NURBS surfaces create smooth geometry with very few points
A. T
B. F

13. To create a sharp edge on a Sub-D object, we use
A. Weighted vertices
B. Creases
C. Sharpen clusters

14. UV mapping is the only way to change the surface color of a model
A. T
B. F

15. UV shells can be “sewn” together to create larger contiguous shapes for mapping purposes.
A. T
B. F

16. UV maps can be created before models are smoothed.
A. T
B. F

17. Models can be smoothed either before or after blend shapes are created; it makes no difference at all.
A. T
B. F

18. Before beginning rigging your character, you should:
A. Delete modeling history
B. Do a “cleanup pass” to merge any stray points
C. Make sure your character is in the “DaVinci” (or "T") pose
D. All of the above

19. You should begin your character’s skeleton at:
A. The character’s feet
B. The character’s head
C. The character’s shoulders
D. The character’s pelvis

20. When painting joint weights, the weight-painting tools that work best to adjust weights are:
A. Scale and Add
B. Add and Replace
C. Replace and Smooth
D. Smooth and Scale

21. To get joints into place, you should:
A. Translate and rotate
B. Scale on the X axis and rotate
C. Translate and scale on the X axis
D. Scale only

22. The purpose of the end joint in a chain is to:
A. Set the final rotation of the entire joint chain
B. Orient the previous joint in the chain
C. Specify the joint chain's behavior
D. There is no special purpose to the end joint

23. When setting up your rig's control handles, it's important to make sure you:
A. Freeze transformations to reset rotations to “0”
B. Size controls to be easily accessible
C. Make sure you're parenting the controller object to the correct joint or IK handle
D. All of the above

24. Adding pole vector constraints to an IK chain allows you to aim things like elbows and knees:
A. T
B. F

25. Creating shelf controls for your character allows you to access controls that otherwise might be difficult to select:
A. T
B. F

26. A pop-thru of your animation is done to work out your character's main poses:
A. T
B. F

27. It's a good idea to keep all your keys on the same frame in a pop-thru:
A. T
B. F

28. The best tangents to use on a pop-thru are:
A. Spline tangents
B. Linear tangents
C. Stepped tangents
D. Clamped tangents

29. The dope sheet is a very useful window for moving around keys in your scene
A. T
B. F

30. Once you change the tangents of your keys to splines, no further adjustment is necessary; your animation is complete.
A. T
B. F

31. The main light positions in a three-point lighting scheme are:
A. Fill, back, and point
B. Distance, point, and fill
C. Rim, key, and spot
D. Key, fill, and rim

32. A point light will give you the most control over where light falls in your scene
A. T
B. F

33. Color can be assigned to which type of light?
A. Spot
B. Point
C. Directional
D. Any type of light

34. The strongest light source in an average three-point setup should be:
A. Fill
B. Rim
C. Key
D. It doesn't matter

35. The two main types of shadows in Maya are:
A. Depth map and spot
B. Ray traced and IPR
C. Depth map and ray traced
D. Spot and IPR

36. The rendering process creates 2D images from the 3D environment:
A. T
B. F

37. Rendering a few test frames is a good way to determine how long each frame will take to render
A. T
B. F

38. To ensure proper numbering for a 1000-frame scene, the frame padding setting should be set to:
A. 2
B. 3
C. 4
D. 5

39. For your final render, you should always render to a QuickTime file
A. T
B. F

40. It is impossible to skip frames when rendering; every frame in a scene must be rendered in order.
A. T
B. F