IELTS PREDICTION TEST

Fishbourne Roman Palace
Fishbourne Roman Palace is in the village of Fishbourne in West Sussex, England. This large palace was built in the 1st century AD, around thirty years after the Roman conquest of Britain, on the site of Roman army grain stores which had been established after the invasion, in the reign of the Roman Emperor Claudius in 43 AD. The rectangular palace was built around formal gardens, the northern half of which have been reconstructed. 
There were extensive alterations in the 2nd and 3rd centuries AD, with many of the original black and white mosaic floors being overlaid with more sophisticated coloured ones, including a perfectly preserved mosaic of a dolphin in the north wing. More alterations were in progress when the palace burnt down in around 270 AD, after which it was abandoned.
Local people had long believed that a Roman palace once existed in the area. However, it was not until 1960 that the archaeologist Barry Cunliffe, of Oxford University, first systematically excavated the site, after workmen had accidentally uncovered a wall while they were laying a water main. The Roman villa excavated by Cunliffe’s team was so grand that it became known as Fishbourne Roman Palace and a museum was erected to preserve some of the remains. This is administered by the Sussex Archaeological Society.
In its day, the completed palace would have comprised four large wings with colonnaded fronts. The north and east wings consisted of suites of private rooms built around courtyards, with a monumental entrance in the middle of the east wing. In the north-east corner there was an assembly hall. The west wing contained state rooms, a large ceremonial reception room, and a gallery. The south wing contained the owner’s private apartments. The palace included as many as 50 mosaic floors, under-floor central heating and a bathhouse. In size, Fishbourne Palace would have been approximately equivalent to some of the great Roman palaces of Italy, and was by far the largest known Roman residence north of the European Alps, at about 500 feet (150m) square. A team of volunteers and professional archaeologists are involved in an ongoing archaeological excavation on the site of nearby, possibly military, buildings.
The first buildings to be erected on the site were constructed in the early part of the conquest in 43 AD. Later, two timber buildings were constructed, one with clay and mortar floors and plaster walls, which appears to have been a house of some comfort. These buildings were demolished in the 60s AD and replaced by a substantial stone house, which included colonnades and a bath suite. It has been suggested that the palace itself, incorporating the previous house in its south-east corner, was constructed around 73–75 AD. However, Dr Miles Russell, of Bournemouth University, reinterpreted the evidence and the collection of objects found and has suggested that, given the extremely close parallels with the imperial palace of Domitian in Rome, its construction may more plausibly date to after 92 AD.
With regard to who lived in Fishbourne Palace, there are a number of theories; for example, one proposed by Professor Cunliffe is that, in its early phase, the palace was the home of Tiberius Claudius Cogidubnus, a local British king who was loyal to Rome.
The residence of Tiberius Claudius Cogidubnus, a local chieftain who supported the Romans and who may have been installed as king of a number of territories following the first stage of the conquest. Cogidubnus is known from a reference to his loyalty in Agricola, a work by the Roman writer Tacitus, and from an inscription commemorating a temple dedicated to Neptune and Minerva found in the nearby city of Chichester. 
Another theory is that it was built for Sallustius Lucullus, a Roman governor of Britain of the late 1st century, who may have been the son of the British prince Adminius. Two inscriptions recording the presence of Lucullus have been found in Chichester, and the dating by Miles Russell of the palace being designed for Lucullus, then it may have only been in use for a few years, as the Roman historian Suetonius records that Lucullus was executed by the Emperor Domitian in or shortly after 93 AD.
Additional theories suggest that either Verica, a British king of the Roman Empire in the years preceding the Claudian invasion, was owner of the palace, or Tiberius Claudius Catuarus, following the recent discovery of a gold ring belonging to him. The palace outlasted the original owner, whoever he was, and was extensively re-planned early in the 2nd century AD, and subdivided into a series of lesser apartments. Further redevelopment was begun in the late 3rd century AD, but these alterations were incomplete when the north wing was destroyed in a fire in around 270 AD. The damage was too great to repair, and the palace was abandoned and later dismantled.
A modern museum had been built by the Sussex Archaeological Society, incorporating most of the visible remains, including one wing of the palace. The gardens have been re-planted using authentic plants from the Roman period.

1 FALSE
Câu hỏi: Fishbourne Palace là cấu trúc đầu tiên được xây trên khu đất đó.
Dẫn chứng (Đoạn A): “…built… on the site of Roman army grain stores…”
Giải thích: Trước khi có cung điện, nơi đây đã có các kho ngũ cốc (grain stores). Vậy cung điện không phải là đầu tiên.
2 TRUE
Câu hỏi: Cung điện được cải tạo (renovated) nhiều hơn một lần.
Dẫn chứng (Đoạn A): “There were extensive alterations in the 2nd and 3rd centuries AD… More alterations were in progress when…”
Giải thích: “Alterations” đồng nghĩa với “renovated”. Bài viết nhắc đến các đợt sửa đổi ở thế kỷ 2, thế kỷ 3 và cả lúc sắp bị cháy. Rõ ràng là hơn một lần.
3 FALSE
Câu hỏi: Cung điện lớn khi so sánh với các cung điện ở Ý.
Dẫn chứng (Đoạn C): “…approximately equivalent to some of the great Roman palaces of Italy…”
Giải thích: “Equivalent to” nghĩa là tương đương/ngang bằng, không phải là “lớn hơn” (large in comparison with).
4 TRUE
Câu hỏi: Nghiên cứu vẫn đang tiếp tục ở khu vực gần cung điện.
Dẫn chứng (Đoạn C): “…are involved in ongoing archaeological excavation on the site of nearby… buildings.”
Giải thích: “Ongoing” = “continuing” (đang tiếp diễn); “nearby” = “close to” (gần đó).
5 FALSE
Câu hỏi: Các nhà nghiên cứu đồng ý về danh tính chủ nhân cung điện.
Dẫn chứng (Đoạn E): “…there are a number of theories.”
Giải thích: “A number of theories” (nhiều giả thuyết) đồng nghĩa với việc họ chưa thống nhất (disagree), trái ngược với “agree on”.
6 NOT GIVEN
Câu hỏi: Cung điện bị người dân địa phương đốt.
Dẫn chứng (Đoạn F): “…the north wing was destroyed in a fire around 270 AD.”
Giải thích: Bài đọc chỉ nói bị cháy (fire), không nói ai đốt hay nguyên nhân do đâu.

Questions 1–6

7 Roman army
Dẫn chứng (Đoạn A): “…site of Roman army grain stores…”
Giải thích: Kho chứa thức ăn (ngũ cốc) của quân đội La Mã.
8 (formal) gardens
Dẫn chứng (Đoạn A): “…built around formal gardens…”
Giải thích: Cung điện bao quanh những khu vườn trang trọng.
9 (mosaic) floors
Dẫn chứng (Đoạn A): “…original black and white mosaic floors being overlaid with more sophisticated colored ones…”
Giải thích: Màu sắc được thêm vào các sàn nhà khảm đá.
10 wall
Dẫn chứng (Đoạn B): “…workmen accidentally uncovered a wall…”
Giải thích: Thứ đầu tiên được tìm thấy tình cờ là một bức tường.
11.  93
Dẫn chứng (Đoạn F): “…Lucullus was executed… in or shortly after 93 AD.”
Giải thích: Lucullus sống ở đó đến khoảng năm 93 SCN (năm bị xử tử).
12 (gold) ring
Dẫn chứng (Đoạn F): “…discovery of a gold ring belonging to him [Catuarus].”
Giải thích: Tìm thấy chiếc nhẫn của Catuarus.
13 (modern) museum
Dẫn chứng (Đoạn G): “A modern museum has been built… incorporating most of the visible remains…”
Giải thích: Bảo tàng được xây để bảo vệ/lưu giữ các di tích.

Questions 7–13

PASSAGE 1

Born to Trade
Long before our ancestors had any trappings of civilization, they had a taste for material goods. Kate Douglas discovers where this ancient obsession has led us.
{iv A natural human talent}
Humans are born to trade, and we don’t need shops or money to do it—the heart of commerce is an instinctive ability for what anthropologists call reciprocity. This is an ability to exchange goods of equal worth, and it evolved as the brains of our ancient ancestors and societies became more complex, allowing individuals to keep a running tally of their interactions with others. Evidence from modern hunter-gatherers leaves little doubt that the exchange of food and flavors is innate, as is the ability to keep track of the credits and debits that accrue as a result. Combine this skill for mental bookkeeping with even the most basic material culture, and trade inevitably follows.
{iii Querying the changes in the value of traded items} 
Once trade gets off the ground, the economic benefits quickly make it irresistible. But exchanging tools, food, and other essentials of life in a barter economy is a far cry from the shopping mall. Modern consumerism sways beyond subsistence and utilitarianism to encompass everything from Gucci handbags and BMW convertibles to valuable paintings. Clearly, the worth of such goods is not inherent but resides in certain intangible qualities that we invest in them. When did humans start holding these goods in such high esteem?
 {vi. Recent finds alter theories about when consumerism started}
All the archaeological evidence for the flowering of consumer culture has, up to now, pointed to a date of around 40,000 years ago. That’s when early modern humans started making increasingly intricate bone and stone tools, carving patterns into rocks, and creating representational art such as carved figurines, jewelry, and cave paintings. However, discoveries in Africa are pushing the origins of consumerism much further back into human prehistory.
A few years ago, reports began to emerge of discoveries made at the Blombos cave, a site of ancient human habitation in South Africa. Christopher Henshilwood and colleagues from the University of Bergen in Norway dated thousands of pieces of ochre from the cave, and many of them proved to be more than 100,000 years old—before the time that early humans moved out of Africa. Ochre, a colored clay that comes in various shades from red to black, does not occur naturally around Blombos and must have been imported from quarries at least 30 kilometers away, either directly by Blombos residents or through trade. Although ochre can be used to dry and preserve (or “cure”) animal hides, the researchers are convinced the Blombos ochre had a symbolic purpose. For a start, it is predominantly red—any of the other colors available would have sufficed for curing—and the surfaces of the clay had been scraped in a way that indicates they were used to yield pigment for dyes.
{ii The clues that indicate ancient items were decorative}
An even more intriguing discovery from Blombos was of 41 beads dating from 76,000 years ago, found in clusters and made from the shells of a tiny mollusk. These cannot be natural deposits, argue the researchers, as each cluster contains shells of a similar size and color with consistently placed holes. What’s more, all the beads display a pattern of wear suggesting friction from rubbing against thread, clothes, or other beads.
The previous oldest find of beads in Africa dates back to just 45,000 years ago. And it seems the Blombos people’s taste for beautiful items was not an isolated phenomenon. Jessica Thompson of Arizona State University in Tempe has described finding shell fragments from a site in Tanzania that she believes may represent debris from bead manufacture. They are at least 45,000—and possibly 280,000—years old. Although there is no evidence of how the ancient beads were used, their modern counterparts are often traded. So it looks as though our taste for jewelry and art is much older than we thought.
{v How status can be gained from ownership of goods}
But why did we come to value these objects in the first place? In many animal species, individuals signal their genetic fitness by showing off with attention-grabbing adornment. Some researchers think that in humans, consumer products play a similar role. Archaeologist Aimee Plourde, from the University of California, also argues that even in egalitarian societies, some people are more successful than others. Among our ancestors, superior skills in areas such as hunting, crafts, environmental knowledge, and contact with neighboring groups would have brought respect—in other words, prestige.
And because prestige brings social benefits, people would want to show off their talents. The best way to do this would be through demonstrating possession of material items that are hard to fake. “A good hunter, for instance, could advertise his skills by wearing the tooth of an animal that is elusive or dangerous,” says Plourde. The benefits of prestige would also lead to competition to acquire it. As a result, the value and variety of prestige goods would spiral, and there would be a parallel increase in the ranking of social systems.
If Plourde is correct, prestige goods form a direct link between our innate drive for trade and the development of structured, hierarchical societies. They are arguably the first step on the road to modern civilization, paving the way for agriculture and urbanization. We may not be impressed by beads anymore, but their modern equivalents have the same fascination. Nobody believes the guy who spends €670,000 on a Bugatti Veyron car does so because he needs to travel at 250 mph. We all know in today’s consumer society he’s buying an exclusive status symbol.

Đáp án &amp; Giải thích: BORN TO TRADE
1. Đoạn 1 (Paragraph 1) – Đáp án: iv (A natural human talent)
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Vị trí: Câu đầu tiên của đoạn 1.
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Dẫn chứng: “Humans are born to trade… the heart of commerce is an instinctive ability… Evidence… leaves little doubt that the exchange of food and flavors is innate.”
</li>
<li>
Giải thích: Tác giả khẳng định con người sinh ra đã có bản năng giao thương (born to trade). Các từ khóa như instinctive ability (khả năng bản năng) và innate (bẩm sinh) hoàn toàn khớp với tiêu đề “A natural human talent” (Một tài năng tự nhiên của con người).
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</ul>
2. Đoạn 2 (Paragraph 2) – Đáp án: iii (Querying the changes in the value of traded items)
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Vị trí: Cuối đoạn 2.
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Dẫn chứng: “Clearly, the worth of such goods is not inherent but resides in certain intangible qualities… When did humans start holding these goods in such high esteem?”
</li>
<li>
Giải thích: Đoạn này đặt ra câu hỏi về giá trị của hàng hóa. Thay vì giá trị thực dụng (subsistence), con người bắt đầu coi trọng những giá trị vô hình (intangible qualities). Câu hỏi ở cuối đoạn chính là một sự “querying” (thắc mắc/truy vấn) về sự thay đổi giá trị này.
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</ul>
3. Đoạn 3 (Paragraph 3) – Đáp án: vi (Recent finds alter theories about when consumerism started)
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Vị trí: Giữa đoạn 3.
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Dẫn chứng: “All the archaeological evidence… has up to now pointed to a date of around 40,000 years ago. However, discoveries in Africa are pushing the origins of consumerism much further back… many of them proved to be more than 100,000 years old.”
</li>
<li>
Giải thích: Trước đây người ta tin văn hóa tiêu dùng bắt đầu từ 40,000 năm trước, nhưng những khám phá mới (recent finds) tại hang Blombos đã đẩy mốc thời gian này lùi xa hơn (100,000 năm), làm thay đổi các lý thuyết cũ.
</li>
</ul>
4. Đoạn 4 (Paragraph 4) – Đáp án: ii (The clues that indicate ancient items were decorative)
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Vị trí: Đầu và giữa đoạn 4.
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Dẫn chứng: “Each cluster contains shells of a similar size and colour with consistently placed holes. What’s more, all the beads display a pattern of wear suggesting friction from rubbing against thread, clothes…”
</li>
<li>
Giải thích: Tác giả liệt kê các “clues” (manh mối) như: kích thước đồng đều, lỗ khoan nhất quán và dấu vết mòn do cọ xát vào chỉ/quần áo để chứng minh những vỏ ốc này được dùng làm đồ trang trí (beads/jewellery) chứ không phải do tự nhiên tích tụ.
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</ul>
5. Đoạn 5 (Paragraph 5) – Đáp án: v (How status can be gained from ownership of goods)
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Vị trí: Giữa đoạn 5.
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Dẫn chứng: “Among our ancestors, superior skills… would have brought respect – in other words, prestige. And because prestige brings social benefits, people would want to show off their talents… through demonstrating possession of material items…”
</li>
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Giải thích: Đoạn này giải thích mối liên hệ giữa việc sở hữu hàng hóa và địa vị xã hội (status/prestige). Việc sở hữu những vật phẩm hiếm (như răng thú dữ hay xe Bugatti ngày nay) là cách để khẳng định vị thế và sự thành công của cá nhân.
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Question 14-19

19. In section A, ‘reciprocity’ refers to our ancestors’ ability to:
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Đáp án: B. monitor the balance between goods given and received
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Dẫn chứng: “…allowing individuals to keep a running tally of their interactions with others… the ability to keep track of the credits and debits that accrue…” (Đoạn A).
</li>
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Giải thích: “Reciprocity” (sự có đi có lại) được mô tả là khả năng “ghi chép nhẩm” (mental bookkeeping) để theo dõi các khoản nợ và có (credits and debits) trong quá trình trao đổi, đảm bảo sự cân bằng giữa những gì cho đi và nhận lại.
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20. What is said about the ochre found around Blombos?
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Đáp án: D. It appears it was selected for its color.
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Dẫn chứng: “For a start, it is predominantly red—any of the other colors available would have sufficed for curing…” (Đoạn C).
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Giải thích: Các nhà nghiên cứu tin rằng đất son (ochre) ở đây được dùng cho mục đích biểu tượng vì họ chủ yếu chọn màu đỏ, mặc dù các màu khác cũng có tác dụng bảo quản da thú tương tự. Điều này chứng tỏ màu sắc là yếu tố được ưu tiên lựa chọn.
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</ul>
21. What made the researchers realize the purpose of the beads found at the Blombos caves?
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Đáp án: D. They have holes and markings suggesting they were joined together.
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Dẫn chứng: “…consistently placed holes… all the beads display a pattern of wear suggesting friction from rubbing against thread, clothes, or other beads.” (Đoạn D).
</li>
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Giải thích: Những lỗ thủng được đục đồng nhất và các vết mòn do ma sát với chỉ hoặc quần áo cho thấy những vỏ sò này được xâu chuỗi lại với nhau để làm đồ trang sức, chứ không phải là sự tích tụ tự nhiên.
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Questions 20-22

17. … ownership of desirable goods to demonstrate our strength and fitness as other {species} use their attractive physical features.
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Dẫn chứng: “In many animal species, individuals signal their genetic fitness by showing off with attention-grabbing adornment.” (Đoạn E).
</li>
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Giải thích: Tác giả so sánh việc con người dùng hàng hóa xa xỉ với việc các loài động vật khác dùng vẻ ngoài (như bộ lông) để khoe sức mạnh và sự khỏe mạnh.
</li>
</ul>
18. … even in ancient times, successful people would have gained {respect} from this.
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Dẫn chứng: “…superior skills in areas such as hunting… would have brought respect—in other words, prestige.” (Đoạn E).
</li>
<li>
Giải thích: Những kỹ năng vượt trội mang lại sự tôn trọng (respect) hay còn gọi là uy tín (prestige).
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</ul>
19. … increase in the worth of prestige goods and to {competitiveness} among people wishing to achieve this status.
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Dẫn chứng: “The benefits of prestige would also lead to competition to acquire it.” (Đoạn E).
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Giải thích: Mong muốn đạt được địa vị dẫn đến sự cạnh tranh (competitiveness) giữa mọi người.
</li>
</ul>
20. … natural desire to trade provided a basis for organized farming and {city} development…
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Dẫn chứng: “…paving the way for agriculture and urbanization.” (Đoạn E).
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Giải thích: Sự phát triển của hàng hóa xa xỉ dẫn đến sự hình thành hệ thống xã hội, nông nghiệp và đô thị hóa (city development).
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21. … other items hold the same appeal for us and bring the same status as owning beads did for our {ancestors}.
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Dẫn chứng: “We may not be impressed by beads anymore, but their modern equivalents have the same fascination… status symbol.” (Đoạn E).
</li>
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Giải thích: Những món đồ như xe Bugatti ngày nay có giá trị biểu tượng địa vị tương tự như những chuỗi hạt vỏ sò đối với tổ tiên (ancestors) của chúng ta ngày xưa.
</li>
</ul>

Why certain objects are valued?
Some researchers argue that we may use ownership of desirable goods to demonstrate our strength and fitness as other {D. species} use their attractive physical features. Showing off one’s superiority is not a new phenomenon, and even in ancient times, successful people would have gained {B. respect} from this. A desire for status could have led to an increase in the worth of prestige goods and to {A. competitiveness} among people wishing to achieve this status.
It is thought that our natural desire to trade provided a basis for organized farming and {E. city} development and finally resulted in the complex societies which can be seen today. Whilst we do not value things such as beads nowadays, other items hold the same appeal for us and bring the same status as owning beads did for our {C. ancestors}.

Questions 22-26

PASSAGE 2

Science and Filmmaking
Academics are now working more with filmmakers who are impressed by the results of their research in computer-generated imagery (CGI)
Every year the film academy in the USA celebrates the outstanding achievements of the year in a ceremony known as the Oscars. An increasingly important component of the ceremony is the presentation of the Scientific and Technical awards. In 2004 a notable event took place: the academic world met the cinematographic world when researchers from Stanford University in the USA were awarded an Oscar. These researchers, led by Steve Marschner, were from the field of Computer Graphics at Stanford. They were part of a growing cohort of computer scientists that has become fundamental to moviemaking.
Films have shown that it is possible to use CGI to make actors look younger, older, weaker or stronger than they actually are in a surprisingly realistic manner. At least, it is possible if the altered actors are not filmed too closely. This is because the difficulty of recreating the textures of both skin and fabric means that the effect is less convincing when seen close up. The work of Marschner and his colleagues has greatly improved the accurate and realistic modeling of both skin and fabric. They recognized that one of the difficulties of creating lifelike characters in the computer world is that, in CGI, the characters’ skin is opaque (two-dimensional) whereas real skin is in fact translucent (three-dimensional), that is to say, it is semi-transparent.
Marschner and his colleagues received the Oscar for their work in successfully producing a CGI model that simulates translucency; this is when light penetrates skin and then scatters below the skin’s surface before re-emerging. This is called subsurface scattering, and the mathematics for the model goes back many decades to the time when it was used in astrophysics. Because human skin is naturally translucent, it was necessary to be able to create this artificially in order to simulate the soft appearance of real skin. Previous CGI models, which assumed that skin was entirely opaque, resulted in characters with a plastic appearance. The scientists’ new model of CGI was so important in bringing digital characters to life that, within two years of their original research paper, all the major special-effects studios had incorporated it into their digital rendering systems.
However, despite their award, the scientists, with admirable tenacity, continued their search for perfection, as they still did not feel that they had yet satisfactorily recreated the subtle ways light is reflected. To do this, they began to look in detail at the way skins and fabrics reflect light differently according to their make-up: the exact arrangement of fibers in fabric and the network of fibers in skin. Marschner and his team tried to do this by using computerized tomography, which is most familiar as a medical technique for examining people’s internal organs. Like classical radiology, it uses X-rays, but because the image is constructed inside a computer using exposures taken from many different positions, rather than a single exposure on photographic film, it can capture fine details that are invisible in classical radiology.
Unfortunately, the scientists understood that at this point in time they could not use computerized tomography on skin, because a very high-intensity X-ray is needed to show the kind of detail they wanted and this would be very dangerous for human skin. They have, however, had some success with fabric. Using this new method of imaging, they are able to accurately record the three-dimensional structure of all the fibers in a number of small pieces of fabric. These same pieces of fabric, through the use of CGI, can then be patched together to form an entire garment inside a computer, in the same way that a small group of actors can be made to look like hundreds of people gathered together. A garment created through CGI is therefore made up of pieces of fabric whose internal structure has been pre-recorded. This means that the way light is reflected by the garment can be calculated far more realistically than if the scientists just made a computer model of what they thought the interior of the fabric looked like. Cinematography will benefit from this because, although it may take some years to be able to use computerized tomographic imaging of skin, for the moment the movement of a virtual cloak or the lifting of a computerized hat should look far more realistic.
In the meantime, according to Marschner’s colleague Kavita Bala, the technology might have an application in online retailing. At the moment, people buying clothes over the internet have only a standard photograph to help them choose their purchases. It is hoped that if online shoppers can view items which have been presented through the use of computerized tomography graphics, they will have a much better understanding of what the material the item is made of is really like.
Marschner is now working on the way light is scattered from individual hairs. He says, ‘I feel lucky to be working in this niche. I’m a visual person and to be able to spend my time scrutinizing the world around me, trying to understand why it looks the way it does, is very rewarding’.

Questions 27–32: Multiple Choice
27. What is the writer’s main point in the first paragraph?
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<li>
Đáp án: D (Computer scientists are becoming a vital part of the film industry.)
</li>
<li>
Dẫn chứng: “…computer scientists that has become fundamental to moviemaking.”
</li>
<li>
Giải thích: Tác giả nhấn mạnh rằng các nhà khoa học máy tính đang trở thành một phần thiết yếu/nền tảng (fundamental = vital part) của ngành làm phim.
</li>
</ul>
28. When describing the way CGI changes actors’ appearance, what does the writer suggest?
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Đáp án: A (CGI looks best from a distance.)
</li>
<li>
Dẫn chứng: “…it is possible if the altered actors are not filmed too closely. This is because… the effect is less convincing when seen close up.”
</li>
<li>
Giải thích: Bài viết nói rằng kỹ xảo CGI sẽ kém thuyết phục khi nhìn gần, nghĩa là nó trông tốt nhất khi nhìn từ một khoảng cách nhất định (not filmed too closely).
</li>
</ul>
29. What does the writer suggest about the scientists’ attitude to their work in the fourth paragraph?
<ul data-path-to-node="8">
<li>
Đáp án: A (They were motivated to get as near to reality as possible.)
</li>
<li>
Dẫn chứng: “…continued their search for perfection, as they still did not feel that they had yet satisfactorily recreated the subtle ways light is reflected.”
</li>
<li>
Giải thích: Cụm từ “search for perfection” (tìm kiếm sự hoàn hảo) và việc chưa hài lòng với kết quả hiện tại cho thấy họ muốn đạt tới mức độ thực tế nhất có thể.
</li>
</ul>
30. What are we told about computerised tomography?
<ul data-path-to-node="10">
<li>
Đáp án: B (It is similar to X-rays in the way it works.)
</li>
<li>
Dẫn chứng: “Like classical radiology, it uses X-rays…”
</li>
<li>
Giải thích: Bài viết khẳng định kỹ thuật chụp cắt lớp vi tính (CT) cũng sử dụng tia X giống như phương pháp chụp X-quang truyền thống.
</li>
</ul>
31. Which of these advantages does the writer attribute to the current use of computerised tomography?
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<li>
Đáp án: B (It can make a few people seem like a crowd.)
</li>
<li>
Dẫn chứng: “…in the same way that a small group of actors can be made to look like hundreds of people gathered together.”
</li>
<li>
Giải thích: Tác giả so sánh việc ghép các mảnh vải CGI với việc biến một nhóm nhỏ diễn viên trông như hàng trăm người (đám đông).
</li>
</ul>
32. The writer mentions Kavita Bala in order to
<ul data-path-to-node="14">
<li>
Đáp án: D (demonstrate a use for CGI outside the film industry.)
</li>
<li>
Dẫn chứng: “…the technology might have an application in online retailing.”
</li>
<li>
Giải thích: Việc nhắc đến Kavita Bala là để chỉ ra một ứng dụng tiềm năng của công nghệ này trong ngành bán lẻ trực tuyến, vốn nằm ngoài lĩnh vực điện ảnh.
</li>
</ul>

Questions 27-32

33. It used to be unusual for university researchers to receive a cinematography award.
<ul data-path-to-node="18">
<li>
Đáp án: YES
</li>
<li>
Dẫn chứng: “In 2004 a notable event took place: the academic world met the cinematographic world when researchers from Stanford University… were awarded an Oscar.”
</li>
<li>
Giải thích: Việc gọi sự kiện năm 2004 là “notable event” (sự kiện đáng chú ý/hiếm thấy) khi giới học thuật gặp giới điện ảnh cho thấy trước đó điều này là không thường xuyên (unusual).
</li>
</ul>
34. CGI is popular among ageing actors.
<ul data-path-to-node="20">
<li>
Đáp án: NOT GIVEN
</li>
<li>
Dẫn chứng: “Films have shown that it is possible to use CGI to make actors look younger…”
</li>
<li>
Giải thích: Bài đọc chỉ nói CGI có thể làm diễn viên trông trẻ hơn, nhưng không hề đề cập đến việc nó có “phổ biến” (popular) trong nhóm diễn viên đang già đi hay không.
</li>
</ul>
35. The scientists’ success in generating images of complete CGI garments has won them many awards.
<ul data-path-to-node="22">
<li>
Đáp án: NOT GIVEN
</li>
<li>
Dẫn chứng: Bài đọc nhắc đến giải Oscar cho việc mô phỏng độ xuyên thấu của da (subsurface scattering), nhưng không nói việc tạo ra trang phục (garments) hoàn chỉnh có mang về cho họ “nhiều giải thưởng” (many awards) hay không.
</li>
</ul>
36. It will be a long time before computerised tomographic imaging of fabric is used by filmmakers.
<ul data-path-to-node="24">
<li>
Đáp án: NO
</li>
<li>
Dẫn chứng: “…for the moment the movement of a virtual cloak or the lifting of a computerized hat should look far more realistic.”
</li>
<li>
Giải thích: Bài viết nói rằng kỹ thuật này hiện tại (for the moment) đã có thể giúp các vật dụng bằng vải như áo choàng hay mũ trông thực tế hơn, trái ngược với ý kiến “phải chờ đợi lâu” (long time).
</li>
</ul>

Questions 33-36

37. {A. light}
<ul data-path-to-node="4">
<li>
Dẫn chứng (Đoạn 3): “…simulates translucency; this is when light penetrates skin and then scatters below the skin’s surface…”
</li>
<li>
Giải thích: Nguyên nhân khiến da nhân vật CGI trước đây trông như nhựa là do chưa mô phỏng được cách ánh sáng (light) tương tác (xuyên thấu và tán xạ) với làn da con người.
</li>
</ul>
38. {E. astrophysics}
<ul data-path-to-node="6">
<li>
Dẫn chứng (Đoạn 3): “The mathematics for the model goes back many decades to the time when it was used in astrophysics.”
</li>
<li>
Giải thích: Mô hình CGI của nhóm Marschner dựa trên các nguyên lý toán học vốn được sử dụng trong ngành vật lý thiên văn (astrophysics) từ nhiều thập kỷ trước.
</li>
</ul>
39. {D. use}
<ul data-path-to-node="8">
<li>
Dẫn chứng (Đoạn 3): “…all the major special-effects studios had incorporated it into their digital rendering systems.”
</li>
<li>
Giải thích: “Incorporated into digital rendering systems” đồng nghĩa với việc đưa vào sử dụng (use). Các studio kỹ xảo lớn đã nhanh chóng ứng dụng mô hình này chỉ trong vòng hai năm.
</li>
</ul>
40. {G. improvement}
<ul data-path-to-node="10">
<li>
Dẫn chứng (Đoạn 5): “Cinematography will benefit from this because… the movement of a virtual cloak or the lifting of a computerized hat should look far more realistic.”
</li>
<li>
Giải thích: Việc làm cho các chuyển động và hình ảnh trở nên thực tế hơn (realistic) chính là sự cải thiện (improvement) cho ngành điện ảnh. Cụm từ “benefit from” (hưởng lợi từ) cũng ám chỉ một sự thay đổi tích cực.
</li>
</ul>

The work of Marschner and his colleagues 
For many years, CGI characters did not appear entirely lifelike as their skin appeared plastic. Marschner and his colleagues were the first to apply an understanding of how {A light} interacts with human skin. Their CGI model is based on a novel application of principles of {E astrophysics}, which had previously been applied in other scientific research. The importance of CGI to the film industry has led to the {D use}of Marschner's model by special-effects studios. Marschner's model has led to the {G improvement} of cinematography.

Reading Test 39

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