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The text also describes stop-motion photography, CGI digital modeling, and motion capture, noting how even with advanced computing, directors often blend practical effects and digital tools for realistic light, shadows, and performance.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/how-movie-monsters-are-made-passage-questions/486708/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/how-movie-monsters-are-made-passage-questions/486708.png","ImageObject",300,407,{"name":42,"@type":43},"CatatanPagi","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-31","2026-09-30",true,{"@type":52,"interactionType":53,"userInteractionCount":33},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"Why can an actor wearing prosthetics still show emotions like crying and sneering?","Question",{"text":62,"@type":63},"Because a living actor continues moving underneath the rubbery prosthetics, and the face is blended so the seam disappears while expressions remain possible.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the passage describe animatronics compared with wearing prosthetics?",{"text":67,"@type":63},"Prosthetics are wearable latex or silicone pieces, while animatronics are mechanical puppets with motors, cables, and metal frames that can move a monster’s features on command.",{"name":69,"@type":60,"acceptedAnswer":70},"How does motion capture transfer an actor’s performance into a CGI monster?",{"text":71,"@type":63},"The actor wears a dotted suit and cameras track movements in three dimensions, mapping the actor’s every twitch onto the digital creature.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},486708,1791252807,{"code":4,"msg":81,"data":82},"success",[83,87,90,94,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":84,"show_sort_weight":85,"slug":86},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":88,"slug":89},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":91,"show_sort_weight":92,"slug":93},"Exam",70,"exam",{"id":95,"doc_module":4,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},5,"Comic",60,"comic",{"id":100,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},6,"Technology",50,"technology",{"id":105,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},7,"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":95,"slug":129},19,"General","general",{"code":4,"msg":81,"data":131},{"doc_id":78,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":33,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":123,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":143,"read_time":144,"preview_page_count":4},962090894170,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","Imagine sitting perfectly still in a chair for six hours while an artist glues fake skin onto your face, one gooey layer at a time. That's a normal morning for an actor about to become a movie monster. Long before a creature ever snarls on screen, a team of sculptors, engineers, and computer artists has already spent weeks building it. A monster you watch for two minutes might take months to create, and the tricks behind it are cleverer than the scares themselves.  \nThose weeks of work often begin with a lump of clay, not a computer. Specialeffects artists sculpt a monster's features by hand, then press that sculpture into a  \nmold to cast pieces called prosthetics out of soft latex or silicone. These rubbery pieces are glued to an actor's face and blended with paint until the seam disappears. In the 1980s, artist Rob Bottin famously covered actors in so many layers of foam latex that some spent more time in the makeup chair than in front of the camera. The payoff is a face that can still cry, blink, and sneer, because a living actor is moving underneath it.  \nWhen a creature is too big or too strange for any human to wear, builders turn to machines instead. Animatronics are puppets stuffed with motors, cables, and metal frames that let a monster roar, snap its jaw, or roll its eyes on command. The great white shark in Steven Spielberg's 1975 film \"Jaws\" was actually three enormous mechanical models the crew nicknamed \"Bruce. \" The machine broke down so often in the salty ocean water that Spielberg was forced to hide it and suggest the shark instead, which accidentally made the movie far scarier.  \nNot every screen creature needs motors, though; some are moved a tiny nudge at a time. In stop-motion, artists pose a small model, snap a photo, move it a hair, and photograph it again, repeating this thousands of times until the figure seems to walk on its own. A single second of finished film can require about 24 separate photographs. Because the work is so slow, a whole day of effort might produce only a few seconds of a monster shambling across the screen. It is animation built the way you might build a sandcastle: grain by patient grain.  \nThat patience largely gave way once computers learned to build monsters out of math. Computergenerated imagery, or CGI, lets artists design creatures as digital models that can be lit, textured, and animated inside a machine. To make these creatures move like living things, filmmakers use motion capture, dressing an actor in a suit covered with dots that cameras track in three dimensions. The actor's every twitch is mapped onto the digital monster, so a human performance still hides inside the pixels. Actor Andy Serkis became famous for this method, performing Gollum in \"The Lord of the Rings\" by acting out the character in a dotted suit.  \nEven with all that computing power, the oldest tricks refuse to retire. Many directors still mix real prosthetics and puppets with digital effects, because a physical monster casts real shadows and gives  \nactors something solid to fear. The best creature scenes often blend clay, rubber, motors, and math into a single believable beast. So the next time a monster makes you jump, remember that behind it stands a small army of artists who spent months making sure you never guessed how it was built.  \nHow Movie Monsters Are Made  \nName:  \n\n| Solve each problem.\u003Cbr>Use the article to answer the question.\u003Cbr>1) According to the passage, why can an actor wearing prosthetics still show emotions like crying and sneering?\u003Cbr>A. A living actor's face keeps moving underneath the rubbery pieces.\u003Cbr>B. The silicone is designed to stretch and shrink on its own.\u003Cbr>C. The prosthetics contain tiny motors that mimic human expressions.\u003Cbr>D. Computer artists add the expressions to the face afterward. |  |  |  |  | Answers\u003Cbr>1.  \u003Cbr>2.  \u003Cbr>3.   |  |  |  |  |  |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |\n| 2) How does the passage organize the differe","cbCaiuBiq1XycFXr","https://ap.wps.com/l/cbCaiuBiq1XycFXr","pdf",109109,"English","# How Movie Monsters Are Made - Passage Questions\n## Prosthetics and makeup effects\n## Animatronics and mechanical models\n## Stop-motion animation\n## CGI and motion capture\n## Blending practical and digital effects","[{\"question\":\"Why can an actor wearing prosthetics still show emotions like crying and sneering?\",\"answer\":\"Because a living actor continues moving underneath the rubbery prosthetics, and the face is blended so the seam disappears while expressions remain possible.\"},{\"question\":\"How does the passage describe animatronics compared with wearing prosthetics?\",\"answer\":\"Prosthetics are wearable latex or silicone pieces, while animatronics are mechanical puppets with motors, cables, and metal frames that can move a monster’s features on command.\"},{\"question\":\"How does motion capture transfer an actor’s performance into a CGI monster?\",\"answer\":\"The actor wears a dotted suit and cameras track movements in three dimensions, mapping the actor’s every twitch onto the digital creature.\"}]","How Movie Monsters Are Made - Passage Questions | PDF",1790806980,15]