3N0X2 Cdcs - Unit Review Exercises Volume 3

Front 1

(401) Which function(s) does the teleprompter controller serve?

a. Text speed only.
b. Monitor brightness.
c. Text scroll direction only.
d. Text scroll direction and speed.

Back 1

d. Text scroll direction and speed.

Front 2

(401) When an anchor reads from a teleprompter, how many lines should be on the screen and where should the anchor be reading text on the screen?

a. One or two lines, about one-third of the way down the screen.
b. Three or four lines, about one-half way up the screen.
c. Five to seven lines, about one-third of the way down the screen.
d. One page, about one-fourth of the way down the screen.

Back 2

C. Five to seven lines, about one-third of the way down the screen.

Front 3

(402) With the raster zero reference aligned to the zero reference line on the graticule, you should set television (TV) black on the graticule at

a. +7.5 Institute of Radio Engineers (IRE) which is TV black.
b. the bottom of the scale, –40 IRE.
c. 100 IRE which is optimum black.
d. Zero IRE on the graticule which is pure black.

Back 3

a. +7.5 Institute of Radio Engineers (IRE) which is TV black.

Front 4

(402) Which settings should not be adjusted when looking at the vectorscope?

a. Raster intensity.
b. Setup and video.
c. Chroma and hue.
d. Graticule intensity.

Back 4

b. Setup and video.

Front 5

(403) When making television monitor color adjustments using the Society of Motion Picture and Television Engineers (SMPTE) color bars, how do you know when the colors are set perfect when looking at the large vertical bars over the narrow middle bars?

a. Upper bars match each other exactly.
b. Lower bars match each other exactly.
c. Upper bars match the lower bars exactly.
d. Upper bars are exactly opposite the lower bars.

Back 5

c. Upper bars match the lower bars exactly.

Front 6

(404) When using a switcher, on what bus can you program your next source ahead of time, see it on a monitor, and make any shot or picture adjustments necessary before placing it on-air?

a. Preset.
b. On-air.
c. Effects.
d. Program.

Back 6

a. Preset.

Front 7

(404) What is the difference between dissolve and fade?

a. Dissolve cuts a hole in TV black; fade cuts a hole in the video background.
b. Dissolve cuts a hole in the video background; fade cuts a hole in TV black.
c. Dissolve fades between one video source and TV black; fade uses two video sources.
d. Dissolve fades between two video sources; fade uses one video source and TV black.

Back 7

d. Dissolve fades between two video sources; fade uses one video source and TV black.

Front 8

(404) Which is not a type of key used for video effects?

a. Fill.
b. Matte.
c. Chroma.
d. Luminance.

Back 8

a. Fill.

Front 9

(404) Which key effect depends upon a specific color to trigger it?

a. Matte.
b. Chroma.
c. Luminance.
d. Downstream.

Back 9

b. Chroma.

Front 10

(405) What do the various compression ratios affect as they throw out information?

a. Media drives.
b. Timeline length.
c. Picture resolution.
d. Video playback speed.

Back 10

c. Picture resolution.

Front 11

(405) In nonlinear editing, what is a timeline?

a. Duration of a single clip.
b. Duration of all media in a project.
c. Number of hours invested in a story.
d. Graphic representation of your sequence.

Back 11

d. Graphic representation of your sequence.

Front 12

(405) What is the difference between overwriting and splicing?

a. Overwriting inserts only video, splicing works with video and audio.
b. Overwriting refers to script changes and splicing refers to video changes.
c. Overwriting covers previous material, splicing inserts new material and slides previous
material down.
d. Overwriting inserts new material and slides previous material down, splicing covers previous
material.

Back 12

c. Overwriting covers previous material, splicing inserts new material and slides previous material down.

Front 13

(406) With proper timing, what does the television automation equipment do for programming?

a. Local spots air over all television services at the same time.
b. Allows for airing entire blocks of programming during restricted day parts.
c. Local programming fades to black just as the satellite programming is doing the same.
d. Downloads American Forces Radio and Television Service spots and stores them for later use.

Back 13

c. Local programming fades to black just as the satellite programming is doing the same.

Front 14

(406) What does the satellite signal have embedded in it to fire off the local spot material at appropriate times?

a. Audible audio tones.
b. Inaudible audio tones.
c. Digital signals and tones.
d. “Fire-offs” at the end of programming segments.

Back 14

b. Inaudible audio tones.

Front 15

(406) What piece of equipment locks each decoder’s signal to the station?

a. Vector scope.
b. Signal generator.
c. Frame synchronizers.
d. 10x1 Bridging switcher.

Back 15

c. Frame synchronizers.

Front 16

(407) Which piece of equipment controls satellite source selection?

a. Synchronizer generator.
b. Video bridging switcher.
c. Character generator system.
d. Multi-channel insertion/automation system.

Back 16

d. Multi-channel insertion/automation system.

Front 17

(407) The purpose of the television on-air automation system is to automate

a. scheduling and playback of short segments.
b. scheduling and playback of complete productions.
c. recording and playback of short segments.
d. recording and playback of complete productions.

Back 17

a. scheduling and playback of short segments.

Front 18

(408) As a photojournalist before you can apply the art of journalism you must know journalism

a. technology.
b. research methods.
c. reporting methods.
d. basic requirements.

Back 18

a. technology.

Front 19

(408) To perform your job as a journalist effectively, you must

a. research the topic thoroughly then report the facts.
b. analyze the audience and report the command information that affects them.
c. use effective establishing, close-up, sequencing, and closing shots when reporting on-location.
d. purposefully apply all the basic photojournalist requirements to every product you shoot, write, and assemble.

Back 19

d. purposefully apply all the basic photojournalist requirements to every product you shoot, write, and assemble.

Front 20

(408) What makes up a story, taking the viewer from beginning to end?

a. Logical flow of “mini” sequences that make up the complete story.
b. Logical flow of standalone shots, each with their own merit.
c. An opening and closing sequence with independent shots in between.
d. A standalone opening shot with an audio bridge taking the viewers to the closing sequence.

Back 20

a. Logical flow of “mini” sequences that make up the complete story.

Front 21

(408) Who is directly responsible for the overall newscast?

a. Director.
b. Technical director.
c. Newscast producer.
d. News segment producer.

Back 21

c. Newscast producer.

Front 22

(409) What is the talent’s first responsibility?

a. Learn to read the teleprompter.
b. Deliver the news.
c. Write the script.
d. Be prepared.

Back 22

d. Be prepared.

Front 23

(409) When performing as a television talent, why shouldn’t you glance off to the side, even slightly?

a. Viewers will lose confidence in your ability to be a newscaster.
b. It tells the viewers you’re not really interested in the broadcast.
c. Viewers will know you are using a teleprompter and you’ve been distracted by something in the studio.
d. Any break in eye contact, other than to look at your script, breaks the continuity in your communication.

Back 23

d. Any break in eye contact, other than to look at your script, breaks the continuity in your communication.

Front 24

(409) A common problem with beginning talent is

a. knowing when to take breathes.
b. switching between hot cameras.
c. speaking to fast and running words together.
d. knowing the location of the initial hot camera.

Back 24

c. speaking to fast and running words together.

Front 25

(409) Who determines which uniform you’ll wear on air?

a. You
b. Your supervisor.
c. Defense Media Agency.
d. Local station management.

Back 25

d. Local station management.

Front 26

(409) A person who holds their back and neck erect, shoulders back comfortably and head level during a broadcast conveys

a. alertness.
b. happiness.
c. arrogance.
d. confidence.

Back 26

a. alertness.

Front 27

(409) As the talent who is your link to the director in the control room?

a. Floor manager.
b. Audio operator.
c. Camera operator
d. Production manager.

Back 27

a. Floor manager.

Front 28

(409) As the talent what is one thing you don’t have to worry about when working with cameras?

a. Type of shots.
b. Camera locations.
c. On-air camera location.
d. Who the camera operators are.

Back 28

d. Who the camera operators are.

Front 29

(409) What is the most accurate way to help your audio operator set your microphone level?

a. Say “Test, Test, Test.”
b. Sing one stanza of a song.
c. Read from the program’s script.
d. Hold a normal conversation with the audio operator.

Back 29

c. Read from the program’s script.

Front 30

(409) To prevent lack of eye contact and the lack of spontaneity when reporting,

a. use notes whenever possible.
b. do not ad-lib to fill in between your notes.
c. read your on-camera script word for word.
d. make sure you don’t act casually or flow with the interviewee.

Back 30

a. use notes whenever possible.

Front 31

(409) In broadcasting whose job is it to take words and bring them to the listener in a way that encourages them to listen and act as asked?

a. Writer.
b. Anchor.
c. Director.
d. Announcer.

Back 31

d. Announcer.

Front 32

(410) What can you do as a technical director (TD), at a basic level, to make your product appear professionally produced?

a. Rehearse daily.
b. Purposefully apply the technical basics to each production.
c. Practice for at least three months before taking on the TD responsibilities.
d. Make sure the floor team members are well trained and are proficient in their daily duties.

Back 32

b. Purposefully apply the technical basics to each production.

Front 33

(410) One of the biggest dangers for a camera operator is

a. complacency.
b. not maintaining their camera.
c. lack of good camera blocking.
d. not watching the floor manager for instructions.

Back 33

a. complacency.

Front 34

(411) What must you as a scriptwriter keep in mind when writing bridge segments?

a. Show length.
b. Camera shots.
c. Show’s purpose.
d. Audio and camera operator.

Back 34

c. Show’s purpose.

Front 35

(412) A good director

a. is actively involved in every aspect of the production process.
b. has performed in every position of the production process.
c. dictates every aspect of the production process.
d. let’s his team manage the production process.

Back 35

a. is actively involved in every aspect of the production process.

Front 36

(412) What area is included when drawing a floor plan of the production studio?

a. Entire studio.
b. Broadcaster’s desk.
c. Talent’s interview area.
d. Weather screen and broadcaster’s desk.

Back 36

a. Entire studio.

Front 37

(412) A complete description of each camera shot for a specific camera is called a camera

a. log.
b. shot sheet.
c. caption sheet.
d. shot description

Back 37

b. shot sheet.

Front 38

(412) Once camera operations are running smooth during the camera run-throughs what should you do next?

a. Cue the talent.
b. Start recording.
c. Stop and move to another step.
d. Introduce other program elements.

Back 38

d. Introduce other program elements.

Front 39

(412) When things start going wrong in a production what is the first thing a director must remember?

a. Stay cool.
b. Stop the cameras.
c. What scene comes next.
d. It won’t be noticed by the viewers.

Back 39

a. Stay cool.

Front 40

(412) How should a director’s command to a camera operator be worded?

a. “Tilt up for headroom.”
b. “Tilt up for headroom–Camera 3.”
c. “Camera 3–tilt up for headroom.”
d. “We need more headroom-Camera 3.”

Back 40

c. “Camera 3–tilt up for headroom.”

Front 41

(412) In what order does the director give a sequence of commands?

a. Switcher, audio, talent.
b. Audio, talent, switcher.
c. Talent, switcher, audio.
d. Switcher then talent, audio follows the action.

Back 41

b. Audio, talent, switcher.

Front 42

(412) What is the most common television studio production you’ll see?

a. Live, nightly commander’s interview segment.
b. Live or recorded local newscast.
c. Daily recorded spot production.
d. Newscast daily rehearsals.

Back 42

b. Live or recorded local newscast.

Front 43

(412) Anything produced outside the studio is considered

a. for broadcast only with Public Affairs authorization.
b. a live production and is broadcast as it happens.
c. a remote or on-location production.
d. an off-location production.

Back 43

c. a remote or on-location production.

Front 44

(412) Which is not a reason information is considered newsworthy?

a. Proximity.
b. Preference.
c. High impact.
d. Human interest.

Back 44

b. Preference.

Front 45

(412) Why is it a good idea to schedule shoots in the morning if the story is needed for airing that same evening?

a. The talent is more fresh and alert during the interview.
b. The guest is more fresh and alert during the interview.
c. This allows for production time in the afternoon.
d. Makes the studio available for afternoon shoots.

Back 45

c. This allows for production time in the afternoon.

Front 46

(413) Which is not one of the producer’s responsibilities in preproduction?

a. Participate in all preproduction meetings.
b. Assign a director to the program.
c. Develop program concept.
d. Develop script.

Back 46

a. Participate in all preproduction meetings.

Front 47

(413) Which is not a step for the producer during program development?

a. Develop the script.
b. Analyze the audience.
c. Research the program idea.
d. Select the production mode.

Back 47

a. Develop the script.

Front 48

(413) What should you always keep in mind when developing a program idea?

a. Script.
b. Target audience.
c. Number of cameras available.
d. Number of crew members available.

Back 48

b. Target audience.

Front 49

(413) Normally, which type of production gives you maximum control over most production variables and is less time consuming?

a. In-studio.
b. Remote-field.
c. Live-broadcast.
d. Rehearsed-field.

Back 49

a. In-studio.

Front 50

(413) What must the producer become during the rehearsal stage?

a. Talent.
b. Director.
c. Floor manager.
d. Surrogate audience.

Back 50

d. Surrogate audience.

Front 51

(413) What must be an ongoing process for the producer from concept to final product?

a. Content review.
b. Concept review.
c. Audience analysis.
d. Script development.

Back 51

a. Content review.

Front 52

(414) All good spots must have

a. a story.
b. a script.
c. graphics.
d. a beginning, middle, and end.

Back 52

d. a beginning, middle, and end.

Front 53

(414) When marketing your product, once you figure out who your target audience is, you

a. can begin your research.
b. have a clearer picture of what your objective should be.
c. can figure out what your customer hopes to accomplish.
d. have a better idea on how to present the material for the greater impact.

Back 53

d. have a better idea on how to present the material for the greater impact.

Front 54

(414) When planning your production process, whom should you satisfy to make sure the message gets through?

a. Director.
b. Producer.
c. Audience.
d. Public Affairs officer.

Back 54

c. Audience.

Front 55

(414) The time required to set up a production depends on the

a. size and age span of the audience.
b. size and complexity of the program.
c. experience and size of the production crew.
d. number of cameras and size of production crew.

Back 55

b. size and complexity of the program.

Front 56

(414) What are the two basic types of productions?

a. Live and recorded.
b. In-house and field.
c. Short and long term.
d. Studio and on-location.

Back 56

a. Live and recorded.

Front 57

(415) What must you keep in mind at all times to make sure your product delivers the intended message?

a. Command information.
b. Supervisor suggestions.
c. Audience feedback.
d. Objective.

Back 57

d. Objective.

Front 58

(415) Which is not considered one of the wide range of products in the news segment category of command information (CI)?

a. Stateside network newscasts.
b. Fully produced news stories.
c. Newsreaders.
d. Sound bites.

Back 58

a. Stateside network newscasts.

Front 59

(416) Which approach calls for nothing but random insertion of spot announcements in local availabilities and has been widely used throughout American Forces Radio and Television Service (AFRTS)?

a. Target audience.
b. Automation.
c. Shotgun.
d. Daypart.

Back 59

c. Shotgun.

Front 60

(416) Why is dayparting every single command information (CI) product not realistic?

a. Lack of Public Affairs manpower.
b. The research required can be too time and resource consuming.
c. There are not enough time slots to air every spot randomly all day long.
d. The automation equipment cannot handle the workload required for the process.

Back 60

b. The research required can be too time and resource consuming.

Front 61

(417) What is the Multimedia Workorder form used to request a Public Affairs production?

a. AF Form 209.
b. AF Form 833.
c. DD Form 209.
d. DD Form 833.

Back 61

b. AF Form 833.

Front 62

(417) As a journalist you coordinate your activities with your point of contact when documenting a semi-controlled or uncontrolled event to

a. check camera positions.
b. help write the shooting outline.
c. determine equipment and material requirements.
d. prevent going into areas that were not cleared by the commander.

Back 62

d. prevent going into areas that were not cleared by the commander.

Front 63

(417) What helps a journalist in preparing to document a semi-controlled action scenario?

a. A shooting survey.
b. A shooting outline.
c. Scenario storyboarding.
d. Dry run the shoot as close to the real scenario as possible.

Back 63

b. A shooting outline.

Front 64

(418) What explains each of the various sequences of events in a production?

a. Script.
b. Shot sheet.
c. Site survey.
d. Production events listing.

Back 64

a. Script.

Front 65

(418) What does a director do upon receiving the script for a production?

a. Start the production.
b. Begin briefing the crew.
c. Make the needed corrections.
d. Read through it several times.

Back 65

d. Read through it several times.

Front 66

(419) What videotape production technique requires the most post-production editing time?

a. Live on tape.
b. Recording in segments.
c. Recording with one camera.
d. Recording with multiple cameras.

Back 66

d. Recording with multiple cameras.

Front 67

(420) In broadcast journalism you write using everyday language which is made up of

a. concise statements with the usual internal sentence order of subject, verb, and object.
b. concise statements with the usual internal sentence order using passive verbs.
c. elaborate sentences with many passive verb applications.
d. elaborate sentences with many active verb applications.

Back 67

a. concise statements with the usual internal sentence order of subject, verb, and object.

Front 68

(420) In what voice should the broadcast copy be written in?

a. Passive.
b. Neutral.
c. Active.
d. Null.

Back 68

c. Active.

Front 69

(420) When writing broadcast scripts use contractions

a. occasionally, only to add variety.
b. liberally, to add conversational quality to your script.
c. sparingly, since you should speak more formally in broadcasting.
d. rarely, since you seldom use contractions in your daily conversation.

Back 69

b. liberally, to add conversational quality to your script.

Front 70

(421) How can you improve your writing skills to where your writing talks the way people listen?

a. Improve your listening skills.
b. Take an effective writing class.
c. By using simple, easy language
d. By using flowery sentences since people tend to listen more elaborately than they speak.

Back 70

a. Improve your listening skills.

Front 71

(421) What is the basic rule in broadcast writing?

a. Write the way you speak.
b. Write using colorful, wordy sentences.
c. Write using the least important fact first; the most important fact last.
d. Write using all five Ws (who, what, where, when, why) in the opening sentence.

Back 71

a. Write the way you speak.

Front 72

(421) When writing the broadcast copy, what style mimics the way people speak, has no difficult words to say, and “listens well”?

a. Concise copy.
b. Cognizant copy.
c. Comprehensive copy.
d. Conversational copy.

Back 72

d. Conversational copy.

Front 73

(422) Which statement is true concerning the pre-interview information the assignment editor will give you when you are preparing to report a story?

a. It’s not normally sufficient for most stories, and will make your news seem hollow and turns you from a television journalist into a simple spot announcer.
b. Contains all the details you’ll need to know to shoot your story, which includes who, what, where, why, when, and sometimes even how.
c. Contains biographical information and a series of questions already developed and coordinated with the interviewee.
d. It’s already recorded and only needs to be incorporated into your final edited story.

Back 73

a. It’s not normally sufficient for most stories, and will make your news seem hollow and turns you from a television journalist into a simple spot announcer.

Front 74

(422) What do you do when determining your story focus or commitment?

a. Shoot as much footage as possible and commit time to the entire event.
b. Focus on several topics to broaden the story during editing.
c. Try to cover as much of the subject as possible.
d. Keep a tight focus on a single topic.

Back 74

d. Keep a tight focus on a single topic.

Front 75

(422) Which interview approach invites open-ended responses?

a. Tunnel.
b. Funnel.
c. Freeform.
d. Covertly sequenced.

Back 75

c. Freeform.

Front 76

(423) What kind of spacing should you use to indicate a change in video on the script?

a. Double.
b. Triple.
c. Single.
d. Indent.

Back 76

b. Triple.

Front 77

(423) What is the standard measurement for total line count for a television copy averaging 30 seconds?

a. 7 to 8 lines of 35-space.
b. 7 to 8 lines of 60-space.
c. 14 to 16 lines of 35-space.
d. 14 to 16 lines of 60-space.

Back 77

b. 7 to 8 lines of 60-space.

Front 78

(423) Which is the correct format for quoting someone in your script?
a. THE BLAZE STARTED IN THE KITCHEN SAID THE FIREMAN.
b. THE FIREMAN SAID THE BLAZE STARTED IN THE KITCHEN.
c. THE FIREMAN SAID, QUOTE, “THE BLAZE STARTED IN THE KITCHEN.”
d. THE FIREMAN SAID, QUOTE, “THE BLAZE STARTED IN THE KITCHEN”, END
QUOTE.

Back 78

b. THE FIREMAN SAID THE BLAZE STARTED IN THE KITCHEN.

Front 79

(423) What is the rule to remember about abbreviations?

a. Never use them.
b. Always right them out.
c. When in doubt, write it out.
d. Use them as frequently as possible.

Back 79

c. When in doubt, write it out.

Front 80

(424) How does a well written broadcast copy make the audience feel?

a. Well informed.
b. Like a friend is talking to them.
c. Like a part of the event being reported.
d. That the news is factual and without bias.

Back 80

c. Like a part of the event being reported.

Front 81

(424) Which part of the script elaborates the main facts and adds information?

a. Lead.
b. Body.
c. Teaser.
d. Conclusion

Back 81

b. Body.

Front 82

(424) In minutes, what is the average length of a broadcast feature story?

a. 2 to 3.
b. 5 to 6.
c. 7.
d. 10.

Back 82

a. 2 to 3.

Front 83

(424) What are the two different types of spots?

a. Public service announcement (PSA) and command information
b. Selling and information.
c. Attention and Appeal.
d. PSA and information

Back 83

b. Selling and information.

Front 84

(424) Propriety is a term

a. dealing with who owns the copyright to audio and video shot by a photojournalist; general civil
law dealing with copyright standards.
b. dealing with the standard of what is socially acceptable in conduct or speech, the customs of a polite society.
c. defining generally accepted legal situations in which you may record audio and video and not
be arrested.
d. identifying ownership of one’s personal property.

Back 84

b. dealing with the standard of what is socially acceptable in conduct or speech, the customs of a polite society.

Front 85

(425) What is the most accurate way to measure the success of your command information productions?

a. The in-house peer review.
b. Record start and finish metrics.
c. Assess the product for meeting quality standards.
d. Ensure the Station Operations Manager’s expectation are met or exceeded.

Back 85

b. Record start and finish metrics.

Front 86

(426) What is considered the traditional transition for a newscast?

a. Cut.
b. Spin
c. Dissolve.
d. Fade to black.

Back 86

a. Cut.

Front 87

(427) Which is not a rule to remember for B-roll?

a. B-roll must be illustrative.
b. B-roll must follow a sequence.
c. Special effects are a substitute for good B-roll.
d. You can maintain the feeling of flow if you use the roles of visual continuity.

Back 87

c. Special effects are a substitute for good B-roll.

Front 88

(428) Which transition is normally used to suggest a change in time or place?

a. Dissolve
b. Fade.
c. Wipe.
d. Cut.

Back 88

a. Dissolve

Front 89

(428) Which is not a reason to transition to another shot?

a. Show another angle.
b. Show something new.
c. Show a visual variety.
d. Show a reaction to what is happening.

Back 89

c. Show a visual variety.

Front 90

(428) Which alternative to cutting has someone move from one location to another with the camera following?

a. Camera follow.
b. Change in scene.
c. Talent movement.
d. Change in location.

Back 90

c. Talent movement.

Front 91

(428) What is important for keeping an audience’s attention?

a. Pace.
b. Cuts.
c. Dissolves.
d. Motivation.

Back 91

a. Pace.

Front 92

(429) What are the three areas that make up audio mixing?

a. Sound levels, balance and tone.
b. Sound levels, balance and operating technique.
c. Microphone location, balance, and operating technique.
d. Microphone location, sound levels, and operating technique.

Back 92

b. Sound levels, balance and operating technique.

Front 93

(429) When producing a video production with music and narration, it’s vital for the journalist to make sure that the

a. two sources are balanced.
b. narration is recorded before the music.
c. music is recorded before the narration to provide the background for the narration.
d. music is at a higher level than the narration to provide a continuous background for the narration.

Back 93

a. two sources are balanced.

Front 94

(429) What audio hazard is possible when filming events that have public address systems for narrators or speakers?

a. Audio dropout.
b. Reverberation.
c. Filtering change.
d. Acoustic feedback.

Back 94

d. Acoustic feedback.

Front 95

(430) The horizontal track representing the edits that appears below the SOURCE and RECORD
windows on the nonlinear system is known as the

a. edit line.
b. time line.
c. edit track.
d. assemble track.

Back 95

b. time line.

Front 96

(431) What area is centered within the scanning area vertically and horizontally that allows for
approximately 10 percent loss of video due to image manipulation and broadcast?

a. Scanning.
b. Essential.
c. Definition.
d. Manipulation.

Back 96

b. Essential.

Front 97

97. (431) How should text or text-revealing effects flow when developing graphics?

a. Right to left and bottom to top.
b. Right to left and top to bottom.
c. Left to right and bottom to top.
d. Left to right and top to bottom.

Back 97

d. Left to right and top to bottom.

Front 98

98. (431) Which type of graphic offers the best flexibility for our projects?

a. Matte.
b. Mask.
c. Raster.
d. Vector.

Back 98

d. Vector.

Front 99

99. (432) What two categories do codecs fall into?

a. High and Low.
b. Large and Small.
c. Lossy and Lossless.
d. High definition and standard.

Back 99

c. Lossy and Lossless.

Front 100

100. (432) Which is an example of the naming convention used as a journalist to create a master
folder for a new project?

a. Amn Train SABC.
b. MRR–20120330.
c. SABC–20120330.
d. 20120330-MRR-Amn Train SABC.

Back 100

d. 20120330-MRR-Amn Train SABC.