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Journal articles on the topic 'Animation'
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1
Azad oğlu Aslanov, Rəşid. "Management of animation in tourism." SCIENTIFIC WORK 65, no. 04 (April 21, 2021): 151–53. http://dx.doi.org/10.36719/2663-4619/65/151-153.
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Animation is a Latin word meaning animation in our language. It is taken from the French word "Anime" and is located in our language. In French, the word "anime" means animation. Animation generally involves all animation systems. Even the animation of an animal by a group of actors on the stage is a form of animation. Computer-generated cartoons, etc. animations are also called animations. Today such animations are used for television and cinema. If we want to look for animation as a paragraph, we should look for it in the section "Entertainment services in tourism". In order to ensure that tourists have a good time and increase the demand for work, great efforts are made to use all the animations as a result. Any entertainment, to present an interesting program, is a set of all activities aimed at activating guests, that is, all animation activities. "Animator" is used in the sense of a person who animates, performs and moves. Animation has emerged as a social phenomenon. Since primitive communities, animations have been used in various ceremonies. Animations made using face painting, masks and accessories are still very common. It has become an indispensable element of gatherings and events. Although it has undergone certain changes over time, animation is a social activity that retains all the animating power it seeks to convey to people. Key words: animation, animation in tourism, tourism, management
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Putri, Annisa Rizkiana, Seta Murdha Pamungkas, Ikhwata Andy Pratama, Naila Nahdiyah, Cahya Wulandari, Juniardi Nur Fadilah, and Fresy Nugroho. "Pembuatan Simulasi Perang Zaman Pertengahan dengan Metode Pose to Pose Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 6, no. 1 (January 20, 2021): 1–8. http://dx.doi.org/10.14421/jiska.2021.61-01.
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The animating process is a process in making animation. Many animations seem less clear in delivering messages to the audience. This is because the images and motion of the animation are less real. In making animations, methods are needed to produce quality movements. The method of making animated motions varies depending on the animation pattern you want to create. This research will discuss the Pose to Pose method and will be implemented in the process of making 3D animation that tells the second crusade. The process of warfare involving many people will be in this animation. This method is used in basic human movements in the story. So that the animation looks more real. In making this animation utilizing Blender software starting from the initial stage of manufacture to completion.
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Huang, Zhihong. "Overview of the application of artificial intelligence in computer animation." Applied and Computational Engineering 40, no. 1 (February 21, 2024): 1–6. http://dx.doi.org/10.54254/2755-2721/40/20230620.
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With the flourishing development of artificial intelligence and computer animation technologies, there has been an increasing intersection between these two. In the field of computer animation, the use of artificial intelligence significantly reduces the difficulties in design, production, and post-production processes, which has a massive impact on the entire field. The paper attempts to discuss the relationship between artificial intelligence and computer animation. Not only does the paper elaborate on the related applications of artificial intelligence in various subfields of computer animation, but it also analyzes existing problems and future development trends. The research indicates that AI has achieved significant breakthroughs in computer animation, such as auto-generation of animations, real-time character driving, and emotionally responsive animation creation. However, it also faces challenges like handling interactions in complex scenarios, maintaining realism, and animating high-level abstract concepts. Despite these challenges, it is believed that in the future, AI will further propel the development of computer animation, aiding creators in producing animations that are more vibrant, intricate, and personalized.
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Shakir, Samia, and Ali Al-Azza. "Facial Modelling and Animation: An Overview of The State-of-The Art." Iraqi Journal for Electrical and Electronic Engineering 18, no. 1 (November 24, 2021): 28–37. http://dx.doi.org/10.37917/ijeee.18.1.4.
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Animating human face presents interesting challenges because of its familiarity as the face is the part utilized to recognize individuals. This paper reviewed the approaches used in facial modeling and animation and described their strengths and weaknesses. Realistic face animation of computer graphic models of human faces can be hard to achieve as a result of the many details that should be approximated in producing realistic facial expressions. Many methods have been researched to create more and more accurate animations that can efficiently represent human faces. We described the techniques that have been utilized to produce realistic facial animation. In this survey, we roughly categorized the facial modeling and animation approach into the following classes: blendshape or shape interpolation, parameterizations, facial action coding system-based approaches, moving pictures experts group-4 facial animation, physics-based muscle modeling, performance driven facial animation, visual speech animation.
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Mateja, Deborah, Rebecca Armbruster, Jonathan Baumert, Tim Bleil, Jakob Langenbahn, Jan Christian Schwedhelm, Sarah Sester, and Armin Heinzl. "AnimateSVG: Autonomous Creation and Aesthetics Evaluation of Scalable Vector Graphics Animations for the Case of Brand Logos." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 13 (June 26, 2023): 15710–16. http://dx.doi.org/10.1609/aaai.v37i13.26864.
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In the light of the constant battle for attention on digital media, animating digital content plays an increasing role in modern graphic design. In this study, we use artificial intelligence methods to create aesthetic animations along the case of brand logos. With scalable vector graphics as the standard format in modern graphic design, we develop an autonomous end-to-end method using complex machine learning techniques to create brand logo animations as scalable vector graphics from scratch. We acquire data and setup a comprehensive animation space to create novel animations and evaluate them based on their aesthetics. We propose and compare two alternative computational models for automated logo animation and carefully weigh up their idiosyncrasies: on the one hand, we set up an aesthetics evaluation model to train an animation generator and, on the other hand, we combine tree ensembles with global optimization. Indeed, our proposed methods are capable of creating aesthetic logo animations, receiving an average rating of ‘good’ from observers.
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Tabiszewski, Marek. "comparative analysis of transitions generated using the Unity game development platform." Journal of Computer Sciences Institute 30 (March 20, 2024): 47–52. http://dx.doi.org/10.35784/jcsi.5442.
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This paper conducts a comparative analysis of transitions generated using the Unity engine. It selects fifteen animations featuring a humanoid character, introduces breaks in marker trajectories, and fills them with transitions generated by the game engine's animator. These transitions are then compared with the unmodified original character animation. The study compares animations by calculating the average deviation in bone rotation and position between the original and generated motion throughout the animation. The results show that the Unity engine excels in generating transitions for slow animations involving the lower body limbs, with the largest errors occurring in the bones at the extremities of the limbs.
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Wijanarko, Andang. "Implementasi Prinsip Animasi Straight Ahead Action pada Karakter Hewan Berbasis Animasi 2D." JAMI: Jurnal Ahli Muda Indonesia 1, no. 1 (June 9, 2020): 73–84. http://dx.doi.org/10.46510/jami.v1i1.20.
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Abstrak
Objective. Rangkaian gerak animasi diwujudkan kedalam karakter-karakter animasi yang biasa dijumpai dalam bentuk apapun. Seorang animator harus memahami prinsip-prinsip dasar dan teknik-teknik tertentu dalam proses animasi sehingga karakter animasi yang dihasilkan memiliki kualitas gerak yang indah dan menarik. Penelitian ini membahas tentang salah satu metode atau prinsip animasi straight ahead action untuk menciptakan gerakan animasi hewan yang detail dan halus. Gerakan yang telah ditentukan untuk karakter hewan antara lain gerakan melompat, berlari, dan gerakan kepala dengan menggunakan karakter hewan kelinci.
Materials and Methods. Metode straight ahead action digunakan untuk membuat dan menciptakan gerakan animasi dengan cara menggambar satu per satu (frame by frame) dari awal sampai akhir adegan oleh seorang animator. Perancangan animasi terdiri dari tiga tahap mulai dari pra produksi, produksi, dan pasca produksi, serta menggunakan aplikasi Adobe Animate CC 2018 untuk pembuatan objek animasi 2D.
Results. Penelitian ini berhasil menerapkan gerakan animasi hewan dengan gerakan melompat, berlari dan menggerakkan kepala dengan menggunakan prinsip animasi straight ahead action dengan hasil animasi yang detail dan halus.
Conclusion. Penelitian ini menghasilkan video animasi karakter hewan berbasis animasi 2D dengan kualitas gerakan animasi yang detail dan halus karena menerapkan prinsip animasi straight ahead action untuk seluruh proses animating-nya.
Abstrak
Objective. Animated movements are manifested into animated characters that are usually found in any form. An animator must understand the basic principles and certain techniques in the animating process so that the animated characters produce beautiful and interesting motion qualities. This research discusses the implementation of the principle of straight ahead action animation to create detailed and smooth animation movements.
Materials and Methods. The straight ahead action method is used to make animated movements by drawing one by one (frame by frame) from the beginning to the end of the scene by an animator. The discussion of the method is carried out by implementing the movements of animals running, jumping, and moving the head, also using Adobe Animate CC 2018 for creating 2D animated objects. The design of animation consists of three stages starting from pre-production, production, and post-production.
Results. This research succeeded in applying animal animation with jumping, running and moving the head using the principle of straight ahead action animation with detailed and smooth animation results.
Conclusion. This research produces an animated video character of 2D-based animal animation with a detailed and smooth motion animation quality because it applies the principle of straight ahead action animation for the entire animating process.
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Tao, Yijun, and Weilin He. "Application of Fragmented Narrative in MG Music Animation—Taking Incognito as An Example." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3612–20. http://dx.doi.org/10.18001/trs.7.5.1.137.
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Fragmented narrative has the characteristics of postmodernism: no center, no depth, entertaining, and deconstructionist-center. It intersperses with the shots of text and pictures to change from montage to collage, which subverts the traditional audiovisual language with a strong personality. However, although the music animation video has a lot to express, the short length limits the expression’s completeness. Therefore, it is necessary to express the key points through a fragmented narrative, while the combination of fragmented information can engage the audience. Music animation, more conducive to publicity, combines short music videos and animations. It supplements the content that music cannot express with images. Incognito is an MG music animation produced around cyber-violence, which drives the picture narrative fragmentation with that of the music narrative by organizing the pictures around the music. Meanwhile, the animation produced in MG format adopts MG animation’s flexibility, bringing new audiovisual enjoyment to the audience.
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Qiu, Shanhui. "Generative AI Processes for 2D Platformer Game Character Design and Animation." Lecture Notes in Education Psychology and Public Media 29, no. 1 (December 7, 2023): 146–60. http://dx.doi.org/10.54254/2753-7048/29/20231440.
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AI has the potential to revolutionize the time-consuming and technically complex process of 2D animation production. This paper specifically focuses on creating 2D character animations for platformer games using AI. While AI has made significant contributions to video animations, its application in 2D gaming animation is largely unexplored. Existing AI applications for animation mostly target video animations and lack effective control over randomness. Therefore, this paper explores the role of generative AI in 2D gaming animation, from character design to full animation. Software tools like ChatGPT, Midjourney, Stable Diffusion, and Unity are used to streamline the production process. The research aims to investigate the feasibility and potential of generative AI, with a focus on controlling randomness. By leveraging the unique features of each software, the study aims to enhance the production of 2D game animations. The final output will be an animated character in the Idle state, showcasing the potential of generative AI in 2D gaming animation.
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Stith, Bradley J. "Use of Animation in Teaching Cell Biology." Cell Biology Education 3, no. 3 (September 2004): 181–88. http://dx.doi.org/10.1187/cbe.03-10-0018.
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To address the different learning styles of students, and because students can access animation from off-campus computers, the use of digital animation in teaching cell biology has become increasingly popular. Sample processes from cell biology that are more clearly presented in animation than in static illustrations are identified. The value of animation is evaluated on whether the process being taught involves motion, cellular location, or sequential order of numerous events. Computer programs for developing animation and animations associated with cell biology textbooks are reviewed, and links to specific examples of animation are given. Finally, future teaching tools for all fields of biology will increasingly benefit from an expansion of animation to the use of simulation. One purpose of this review is to encourage the widespread use of animations in biology teaching by discussing the nature of digital animation.
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Kelly, Resa M., Sevil Akaygun, Sarah J. R. Hansen, and Adrian Villalta-Cerdas. "The effect that comparing molecular animations of varying accuracy has on students’ submicroscopic explanations." Chemistry Education Research and Practice 18, no. 4 (2017): 582–600. http://dx.doi.org/10.1039/c6rp00240d.
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In this qualitative study, we examined how a group of seventeen first semester General Chemistry students responded when they were shown contrasting molecular animations of a reduction–oxidation (redox) reaction between solid copper and aqueous silver nitrate for which they first viewed a video of the actual experiment. The animations contrasted in that they portrayed different reaction mechanisms for the redox reaction. One animation was scientifically accurate and reflected an electron exchange mechanism, while the other was purposefully inaccurate and represented a physical exchange between the ions. Students were instructed to critique each animation for its fit with the experimental evidence and to ultimately choose the animation that they felt best depicted the molecular level of the chemical reaction. Analyses showed that most students identified that the electron exchange animation was the more scientifically accurate animation; however, approximately half of the students revised their drawings to fit with the inaccurate physical exchange animation. In addition, nearly all students thought that both animations were correct and useful for understanding salient information about the redox reaction. The results indicate that when students are shown contrasting animations of varying accuracy they make errors in deciding how the animations are supported and refuted by the evidence, but the treatment is effective. Contrasting animations promote students to think deeply about how animations fit with experimental evidence and is a promising way to engage students to think deeply about animations.
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Bitka, Stanisław. "Usłyszeć animację. Próba audiowizualnej analizy filmów „Dom” i „Labirynt”." Kultura Popularna 3, no. 57 (November 30, 2018): 21–30. http://dx.doi.org/10.5604/01.3001.0012.7286.
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The golden age of the Polish School of Animation took place at the same time as the birth and rise of Polish Radio Experimental Studio – where plenty of soundtracks were recorded. The article consists of audio-visual analysis of the two Polish School of Animation's classics: House by Jan Lenica and Walerian Borowczyk, and Labirynth by Jan Lenica with experimental score made by Włodzimierz Kotoński. The author's main thesis is that the soundtrack generally (including two soundtracks in the above-mentioned films), especially in animations that have no dialogues or subtitles, has crucial impact on the perception of a given animation, and could also be a key to its interpretation.
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Ying, Lee, Chih, and Li, Kun Chung. "AIGC-Assisted Instructional Design for the Self-Regulated Learning Course on "Implementing 2D Animation for the Ziyun Temple Stories"." International Journal of Religion 5, no. 1 (February 1, 2024): 580–91. http://dx.doi.org/10.61707/k556b110.
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The instructional design effectively utilizes generative AI to assist in the self-regulated learning course "2D Animation Implementation of Chiayi Temple Stories". It adopts 2D animation and the PPVIO teaching model, leveraging generative AI to create 2D animation scripts and 2D animations. This enhances and sharpens students' storytelling, 2D animation production, and the ability to use generative AI. It also promotes social care, communication, collaboration, and practical application skills. Within the domain of animation graphics, tools like Midjourney and other image-generating AIs are used, with animations completed using the Cartoon Animator 5 software. In this teaching design, teachers play a guiding and mentoring role, leading students to ask more precise prompts to make good use of ChatGPT, and guiding students to overcome the setbacks of self-regulated learning. With the assistance of AI generation tools, students can not only achieve cross-disciplinary learning objectives but, more importantly, reduce the time needed to learn drawing tools. This allows students, even those not specializing in IT, to enhance their digital capabilities in a shorter period. Two suggestions are put forth. Firstly, in the creative section, although the use of AI generation tools is convenient, once technical barriers are removed, the educational content should elevate the level of students' professional creation, such as emphasizing artistic styles. Secondly, regarding self-regulated learning, self-regulated learning should not be pursued for its own sake, nor should learning be for the mere act of learning. It's crucial to stress self-monitoring, self-regulation, and self-discipline to truly grasp the essence of self-regulated learning.
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Liu, Ying. "From 1950s to 1980s: The Formation, Development and Practice of the “National Style” Animation Concept of Shanghai Animation Film Studio." International Journal of Social Science Research 10, no. 2 (September 14, 2022): 244. http://dx.doi.org/10.5296/ijssr.v10i2.20158.
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From the 1950s to 1980s, the series of “National Style” animations created by Shanghai Animation Film Studio have made Chinese animation famous both at home and abroad, and the “National Style” animation concept proposed at that time is also considered to be one of the most influential and representative animation concepts in the history of Chinese animation. By analyzing representative animation, and the books, articles, and speeches on the concept of “National Style” animation published by animation directors of Shanghai Animation Film Studio from the 1950s to 1980s, this article aims to explore and summarize the evolution of the “National Style” animation concept Shanghai Animation Film Studio.
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Fakhrurozi, Irfan, Zulham Nur Fajar, and Rini Trisnawati. "PERANCANGAN FILM ANIMASI DONGENG SEBAGAI MEDIA EDUKASI ANAK PAUD." Jurnal Teknik Informasi dan Komputer (Tekinkom) 4, no. 2 (December 30, 2021): 129. http://dx.doi.org/10.37600/tekinkom.v4i2.345.
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Animation itself can be a medium for educating children as well as entertaining, although in the majority of animations it is still considered as instant entertainment, but often children are inspired and then imitate the behavior of the characters in the films they have just seen. Even for some circles, animation has become memorable and remembered for years. This is the motivation of the author to design an animations, as well as deliver works containing moral messages that can later be remembered by new generations. The animation itself is designed through several stages, such as script writing, storyboarding, keyframe drawing, animation refinement (inbetween), and voice-over to complete the film's elements. After the animation becomes a complete video, the animation is published through various media, which one of them is Youtube channel.
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PERLIN, MARK W. "VISUALIZING DYNAMIC ARTIFICIAL INTELLIGENCE ALGORITHMS AND APPLICATIONS." International Journal on Artificial Intelligence Tools 03, no. 02 (June 1994): 289–307. http://dx.doi.org/10.1142/s0218213094000145.
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Visualization is an important component of modern computing. By animating the course of an algorithm’s temporal execution, many key features can be elucidated. We have developed a general framework, termed Call-Graph Caching (CGC), for automating the construction of many complex AI algorithms. By incorporating visualization into CGC interpreters, principled animations can be automatically displayed as AI computations unfold. (1) Systems that support the automatic animation of AI algorithms must address these three design issues: (2) How to represent AI data structures in a general, uniform way that leads to perspicuous animation and efficient redisplay. (3) How to coordinate the succession of graphical events. (4) How to partition AI graphs to provide for separate, uncluttered displays. CGC provides a natural and effective solution to all these concerns. (5) We describe the CGC method, including detailed examples, and motivate why CGC works well for animation. We discuss the CACHE system, our CGC environment for AI algorithm animation. We demonstrate the animation of several AI algorithms – RETE match, linear unification, arc consistency, chart parsing, and truth maintenance – all of which have been implemented in CACHE. Finally, we discuss the application of these methods to interactive interfaces for intelligent systems, using molecular genetics as an example domain.
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Cole, Martin H., Deborah P. Rosenthal, and Michael J. Sanger. "Two studies comparing students’ explanations of an oxidation–reduction reaction after viewing a single computer animation: the effect of varying the complexity of visual images and depicting water molecules." Chemistry Education Research and Practice 20, no. 4 (2019): 738–59. http://dx.doi.org/10.1039/c9rp00065h.
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This paper describes two studies comparing students’ explanations of an oxidation–reduction reaction after viewing the chemical demonstration and one of two different particulate-level computer animations. In the first study, the two animations differed primarily in the complexity of the visual images. Students viewing the more simplified animation provided more correct explanations regarding the identity of water and nitrate ions in the animations, the absence of ion pairs, the correct ratios of silver to nitrate ions and silver ions to copper atoms, the electron transfer process, size changes in the atoms and ions as the reaction occurred, the source of blue colour in solution, and the driving force for the reaction. Students viewing the more simplified animation also wrote more correct balanced chemical equations for the reaction compared to students viewing the more complex animation. Students in the first study also noted that the more simplified animation did not depict extraneous information (camera angle changes, the overabundance of water molecules), and did depict relevant information (atom and ion charges, the number of electrons transferred, the source of the blue colour). In the second study, the two animations differed only by whether water molecules were shown or omitted from the animation. Students’ explanations for most concepts were similar for these two groups of students; however, students viewing the animation with water molecules omitted were better able to identify nitrate ions in the animation. The only difference the students in the second study noticed between the two animations is the presence or absence of water molecules, but these student did not agree as to whether showing or omitting water molecules was more beneficial. The results of the two studies together suggest that showing or omitting water molecules in the animations had a limited effect on students’ explanations of the oxidation–reduction process.
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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.
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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
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Ling, Xufeng, Yu Zhu, Wei Liu, Jingxin Liang, and Jie Yang. "The Generation of Articulatory Animations Based on Keypoint Detection and Motion Transfer Combined with Image Style Transfer." Computers 12, no. 8 (July 28, 2023): 150. http://dx.doi.org/10.3390/computers12080150.
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Knowing the correct positioning of the tongue and mouth for pronunciation is crucial for learning English pronunciation correctly. Articulatory animation is an effective way to address the above task and helpful to English learners. However, articulatory animations are all traditionally hand-drawn. Different situations require varying animation styles, so a comprehensive redraw of all the articulatory animations is necessary. To address this issue, we developed a method for the automatic generation of articulatory animations using a deep learning system. Our method leverages an automatic keypoint-based detection network, a motion transfer network, and a style transfer network to generate a series of articulatory animations that adhere to the desired style. By inputting a target-style articulation image, our system is capable of producing animations with the desired characteristics. We created a dataset of articulation images and animations from public sources, including the International Phonetic Association (IPA), to establish our articulation image animation dataset. We performed preprocessing on the articulation images by segmenting them into distinct areas each corresponding to a specific articulatory part, such as the tongue, upper jaw, lower jaw, soft palate, and vocal cords. We trained a deep neural network model capable of automatically detecting the keypoints in typical articulation images. Also, we trained a generative adversarial network (GAN) model that can generate end-to-end animation of different styles automatically from the characteristics of keypoints and the learned image style. To train a relatively robust model, we used four different style videos: one magnetic resonance imaging (MRI) articulatory video and three hand-drawn videos. For further applications, we combined the consonant and vowel animations together to generate a syllable animation and the animation of a word consisting of many syllables. Experiments show that this system can auto-generate articulatory animations according to input phonetic symbols and should be helpful to people for English articulation correction.
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Fan, Liheng, Meichen Zhan, Wenjing Qing, Tan Gao, and Mengying Wang. "The Short-Term Impact of Animation on the Executive Function of Children Aged 4 to 7." International Journal of Environmental Research and Public Health 18, no. 16 (August 15, 2021): 8616. http://dx.doi.org/10.3390/ijerph18168616.
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Research has shown that animation plays an important role in the development of children’s executive function (EF), and the development of EF components, inhibitory control, working memory, and cognitive flexibility, is asynchronous. Thus, this study explores the developmental trajectories and animation features (fantasy and pacing) that influence each EF component, by examining 218 children aged 4–7. Pretest information, mainly the childhood EF inventory, was provided by parents: child’s age, age of first exposure to animation, animation viewing time on weekdays and weekends, family income, and parents’ education. The children in each age group were randomly divided into four groups to watch animations comprised of different animation features. After watching, their EF were measured by a day-night task, backward digit-span task, and flexible item-selection task. The results showed that the children’s inhibitory control, working memory and cognitive flexibility levels all improved with age. Highly fantastical animations weakened children’s performance on each subsequent EF task. Pacing had no effect on any of the components of children’s EF. An interactive effect on inhibitory control was only found with fantasy in younger children; specifically, high-fantastical animations had a more pronounced short-lived weakening effect on inhibitory control in younger children (4–6 years) compared with low-fantastical animations. Future research should explore the long-term impact of content rather than the form of animation on younger children’s EF.
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Hutcheson, Tracy D., Richard F. Dillon, Chris M. Herdman, and Jo Wood. "To Animate or Not to Animate, that is the Question." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 1 (October 1997): 345–49. http://dx.doi.org/10.1177/107118139704100177.
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Animation presented together with voice narration in a computer presented tutorial did not facilitate learning when compared with a text and static graphics tutorial. The tutorials were the same except for the addition of simple animations and voice narration. Although there were no statistically significant differences there was a difference of 5 percent correct on quiz questions in favor of the animation group. Beyond statistical significance, is this 5 percent increase good justification for animations in computer-based training? The questions of how, when, and if, we should use animations becomes more important when we consider the resources that go into creating animations vs. traditional graphics. This 5 percent difference may be important when we consider that this difference was realized under a 20 minute computer tutorial There has been a lot of focus on animation in software development and training over the last decade and this study raises more questions for further research about animation in training.
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Lei, Zhen, Hosein Taghaddos, SangHyeok Han, Ahmed Bouferguène, Mohamed Al-Hussein, and Ulrich Hermann. "From AutoCAD to 3ds Max: An automated approach for animating heavy lifting studies." Canadian Journal of Civil Engineering 42, no. 3 (March 2015): 190–98. http://dx.doi.org/10.1139/cjce-2014-0313.
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Modular construction is a dominant manufacturing method for industrial construction in Alberta, Canada. Modularization requires large-capacity mobile cranes to lift heavy modules, such as piperack modules. The current practice utilizes AutoCAD to generate heavy lift studies for modular onsite installations. Heavy lift studies consist of 2D and 3D simulations of the lifting scenarios, along with the corresponding calculations (e.g., lifting capacity checking, ground bearing pressure checking). These static simulations provide snapshots of mobile cranes at pick and set configurations, but they do not represent the movements between the two configurations. For better communication among site engineers and crews, current static heavy lift studies need to be improved by animating the entire lifting process. 3ds Max is an animation tool that can visualize the lifting process, but the tedious and manual process of preparing the animation restricts efficiency and productivity. This research thus introduces a newly developed animation system that automates the transfer of heavy lift studies from AutoCAD into Autodesk 3ds Max animation. Also in this research, the kinetics of mobile cranes are studied and generic crane movements are defined. Using MAXScript, a script is written to link the crane and project database for automatic generating of animations. This research aims to provide the construction industry with a generic method for automating the animation process for heavy lifts based on AutoCAD and 3ds Max systems.
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Lucas, Terry, and Ruslan Abd Rahim. "The Similarities and Nuances of Explicit Design Characteristics of Well-Received Online Instructional Animations." Animation 12, no. 1 (March 2017): 80–99. http://dx.doi.org/10.1177/1746847717690671.
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Online learning is becoming more prevalent throughout the years and there are various methods available to learn via the internet, one of which is by watching educational videos from online streaming sites such as YouTube. With the increasing availability of instructional animations on the internet, it can be beneficial to know how well-received instructional animations are designed. Hence, this explorative article focuses on a hybrid of directed and interpretive content analysis study of explicit design characteristics and visual representations of these animations. Animation samples for the study were selected from established educational animation content creators on YouTube using several criteria. Aspects such as design characteristics and visual representations were analysed and discussed in relation to the Cognitive Theory of Multimedia Learning principles and a characterization system of expository animation. Based on this approach, common characteristics and unique approaches to creating well-received instructional animations for online viewing are found. Thus, by being able to identify and being aware of these salient design characteristics (i.e. visual representations, sound and visual cues), educators and animation designers can incorporate them in their own instructional animations.
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Pan, Yifang, Rishabh Agrawal, and Karan Singh. "S3: Speech, Script and Scene driven Head and Eye Animation." ACM Transactions on Graphics 43, no. 4 (July 19, 2024): 1–12. http://dx.doi.org/10.1145/3658172.
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We present S 3 , a novel approach to generating expressive, animator-centric 3D head and eye animation of characters in conversation. Given speech audio, a Directorial script and a cinematographic 3D scene as input, we automatically output the animated 3D rotation of each character's head and eyes. S 3 distills animation and psycho-linguistic insights into a novel modular framework for conversational gaze capturing: audio-driven rhythmic head motion; narrative script-driven emblematic head and eye gestures; and gaze trajectories computed from audio-driven gaze focus/aversion and 3D visual scene salience. Our evaluation is four-fold: we quantitatively validate our algorithm against ground truth data and baseline alternatives; we conduct a perceptual study showing our results to compare favourably to prior art; we present examples of animator control and critique of S 3 output; and present a large number of compelling and varied animations of conversational gaze.
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Ersan, Merve Åženoymak. "Visual rhetoric in educational animations; An analysis on TED education Lessons." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 602–8. http://dx.doi.org/10.18844/prosoc.v2i1.924.
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Today, developments in the field of computer technology have facilitated the application of animations in computer environment and also led to the widespread use of animation in the scope of computer-aided education. Educational animations engage the learners of all ages and make the learning experience enjoyable in many areas such as physics, chemistry, biology and social sciences. Thanks to the possibilities of animation, many concepts that might be difficult to learn with static images can be described very attractively and catchy. At this point, rhetorical figures can be applied to animations in order to increase the effectiveness of the messages. TED Education Lessons can be given as a successful example of educational animations in this field. TED (Technology, Entertainment, Design) Education is a set of lessons run by a private non-profit foundation, under "Lessons worth sharing" slogan. These lessons are 3-10 minutes of educational and enjoyable animations, which are created with the collaboration of professional educators and animators. There are various animations on Ted Education webpage aim at learners starting from the age of primary school and higher. Through TED Education lessons, this research examines how education takes the advantage of animation and how animations benefit from the rhetorical figures.Keywords: Animation, visual rhetoric, rhetorical figures, educational animations, TED Education.Â
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Arcadias, Laurence, Robin H. D. Corbet, Declan McKenna, and Isabella Potenziani. "Astro-animation: A case study of art and science education." Animation Practice, Process & Production 9, no. 1 (August 1, 2020): 75–102. http://dx.doi.org/10.1386/ap3_000018_1.
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Art and science are different ways of exploring the world, but together they have the potential to be thought-provoking, facilitate a science‐society dialogue, raise public awareness of science and develop an understanding of art. For several years, we have been teaching an astro-animation class at the Maryland Institute College of Art as a collaboration between students and NASA scientists. Working in small groups, the students create short animations based on the research of the scientists who are going to follow the projects as mentors. By creating these animations, students bring the power of their imagination to see the research of the scientists through a different lens. Astro-animation is an undergraduate-level course jointly taught by an astrophysicist and an animator. In this article, we present the motivation behind the class, describe the details of how it is carried out and discuss the interactions between artists and scientists. We describe how such a programme offers an effective way for art students, not only to learn about science but to have a glimpse of ‘science in action’. The students have the opportunity to become involved in the process of science as artists, as observers first and potentially through their own art research. Every year, one or more internships at NASA Goddard Space Flight Center have been available for our students in the summer. Two students describe their experiences undertaking these internships and how science affects their creation of animations for this programme and in general. We also explain the genesis of our astro-animation programme, how it is taught in our animation department and we present the highlights of an investigation of the effectiveness of this programme we carried out with the support of an NEA research grant. In conclusion, we discuss how the programme may grow in new directions, such as contributing to informal STE(A)M learning.
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Lyu, Binrui, Xinyi Song, and Jingyang Zhou. "The Research on the Transformations in "Pleasant Goat and Big Big Wolf" and Attitudes Towards the Animation Industry in China." Communications in Humanities Research 11, no. 1 (October 31, 2023): 100–105. http://dx.doi.org/10.54254/2753-7064/11/20231382.
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China experienced a period of rapid development on entertainment domain. While some animations became extremely famous in a short time but quickly disappeared at the market, others could keep on track with the alteration of society. In this paper, the researchers will focus on an animation called Pleasant Goat and Big Big Wolf and alterations of the culture and society in China behind its changes. The authors discuss reasons leading to changes of the animation and estimate alterations happened on society through researching developments of Chinese animation industry during last 15 years and making comparisons in its characters, plots, and painting styles between different editions of the animation published in last 15 years. In this paper, people could find out some reasons about changes of this animations in last 15 years and changes of peoples attitudes toward animation industry on society.
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Afif, Muhammad Sayyid. "PENERAPAN METODE POSE TO POSE PADA ANIMASI “LEGENDA BATANG BANGAU”." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 6, no. 01 (December 18, 2023): 1–10. http://dx.doi.org/10.30871/deca.v6i01.5769.
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Animating is one part of the 3D animation production stage. Animating stage plays a big role in making an animated movie, because at this stage the movement of the character will be the determinant in delivering the story message in the animated movie. The problem that is often found in this animating process is that the movements made or produced still look stiff and make the story difficult to convey. Therefore, a way is needed so that the animation has a smooth movement and the message can be conveyed well. The pose to pose method is one way that can be used, so that the movement in an animated video or movie becomes smooth while still paying attention to existing animation principles. This research aims to apply the pose to pose method to the animated film "Legenda BatangBangau" and produce good animation quality.This research was conducted using a Luther-Sutopo metode. The author applies the pose to pose method to the animation, then writes down how the method is applied and what is found in the application of the method.By using the pose to pose method, animation creation becomes faster and more efficient.This research successfully applied the pose to pose method to the animation "Legenda Batang Bangau" and produced a good quality animation. This research is expected to help readers in producing good quality animation movements.
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Cao, Luhao. "Regional Roots: A Study of Communication Strategies for the Sustainable Development of China's Animation Industry." Academic Journal of Management and Social Sciences 2, no. 3 (May 3, 2023): 6–8. http://dx.doi.org/10.54097/ajmss.v2i3.7969.
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Animation industry is known as the most promising cultural industry in the 21st century. China's animation industry, taking advantage of the popularity of international animation, has developed rapidly and produced an astonishing number of animations. How to ensure the high-quality and sustainable development of Chinese animation in the context of high output is an urgent issue that needs to be addressed in current Chinese animation industry. Through the analysis of the relevant literature of Chinese animation, this study, starting from the development history of animation, analyzes the problems encountered in Chinese animation during development, and proposes corresponding solutions to the current bottlenecks in development, with the aim of allowing Chinese animation to take root in the region, lead the world, and become a sustainable art and cultural industry.
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Waspada, Heri Priya, Ismanto Ismanto, and Firman Hidayah. "Penggunaan Hasil Motion Capture (Data Bvh) Untuk Menganimasikan Model Karakter 3d Agar Menghasilkan Animasi Yang Humanoid." JAMI: Jurnal Ahli Muda Indonesia 1, no. 2 (December 31, 2020): 94–102. http://dx.doi.org/10.46510/jami.v1i2.34.
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Abstrak
Objektif. Proses pemodelan karakter 3D memegang peranan penting dalam menghasilkan model karakter 3D yang baik. Proses ini merupakan proses awal yang harus dilalui oleh seorang desainer dalam membuat sebuah model karakter 3D. Setelah proses pemodelan dikerjakan dengan baik agar karakter tersebut bisa dibuat bergerak maka diperlukan proses rigging. Dengan proses pemodelan dan rigging tersebut model karakter 3D bisa digunakan untuk menghasilkan animasi sesuai dengan keinginan animator. Tentunya seorang animator akan memerlukan kerja keras untuk membuat suatu adegan gerakan apabila animasi yang dibuat masih manual. Untuk itu dengan memanfaatkan data BVH, animator akan lebih ringan dalam membuat adegan animasinya. Hasil animasi karakter di tunjukkan kepada 40 responden untuk menilai dan menghasilkan rata-rata tingkat humanoid animasi karakter bernilai 65%.
Material and Metode. Menganimasikan model karakter 3D memanfaatkan hasil motion capture (.bvh)
Hasil. Animasi karakter 3D dengan menggunakan hasil motion capture menghasilkan animasi yang humanoid.
Kesimpulan. Hasil motion capture merupakan susunan tulang yang sudah dilengkapi dengan hasil perekaman gerakan sehingga untuk memproduksi animasi model karakter 3D akan lebih mudah karena animator tidak perlu menggambar tiap gerakan yang diinginkan.
Abstrack
Objective. The process of modeling 3D characters plays an important role in producing good 3D character models. This process is the initial process that must be passed by a designer in creating a 3D character model. After the modeling process is done well so that the character can be moved, a rigging process is needed. With the modeling and rigging process, 3D character models can be used to produce animations in accordance with the wishes of the animator. Of course, an animator will need to work hard to create a motion scene if the animation created is still manual. For this reason, by utilizing BVH data, animators will be lighter in making their animated scenes. The results of the character animation were shown to 40 respondents to rate and produce an average humanoid character animation level of 65%.
Materials and Methods. Menganimasikan model karakter 3D memanfaatkan hasil motion capture (.bvh)
Results. 3D character animation using the results of motion capture produces humanoid animation.
Conclusion. The result of motion capture is the arrangement of bones that has been equipped with the results of recording the motion so that to produce animated 3D character models will be easier because the animator does not need to draw every desired movement.
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Leis, John. "Animating Algorithms as a DSP Teaching Tool." International Journal of Electrical Engineering & Education 49, no. 3 (July 2012): 321–33. http://dx.doi.org/10.7227/ijeee.49.3.11.
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This paper introduces the notion of ‘animation’ of digital signal processing algorithms and related concepts. The purpose of the paper is threefold: (i) to introduce the idea of animation of algorithms as an adjunct to teaching DSP; (ii) to discuss some possible approaches to developing such animations, and motivate possible scenarios where algorithm animation would be of benefit in explaining abstract DSP principles; and (iii) to provide details on a method which successfully demonstrates the algorithm animations using a web browser without the need for user-installed software or browser plug-ins.
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Senoymak, Merve Ersan. "Visual rhetoric in educational animations: An analysis on TED Education Lessons." Global Journal of Arts Education 7, no. 1 (June 12, 2017): 19–25. http://dx.doi.org/10.18844/gjae.v7i1.1831.
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Abstract
Today, developments in the field of computer technology have facilitated the application of animations in computer environment and also led to the widespread use of animation in the scope of computer-aided education. Educational animations engage the learners of all ages and make the learning experience enjoyable in many areas such as physics, chemistry, biology and social sciences. Thanks to the possibilities of animation, many concepts that might be difficult to learn with static images can be described very attractively and in a catchy way. At this point, rhetorical figures can be applied to animations in order to increase the effectiveness of the messages. TED Education Lessons can be given as a successful example of educational animations in this field. TED (Technology, Entertainment, Design) Education is a series of lessons run by a private non-profit foundation, under "Lessons worth Sharing" slogan. These lessons are 3-10 minutes of educational and enjoyable animations, which are created with the collaboration of professional educators and animators. There are various animations on TED Education webpage that aim learners starting from the age of primary school and higher. Through TED Education lessons, this research examines how education takes the advantage of animation and how animations benefit from the rhetorical figures.
Keywords: Animation, visual rhetoric, rhetorical figures, educational animations, TED Education.
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Ehrlich, Nea. "The Animated Document: Animation’s Dual Indexicality in Mixed Realities." Animation 15, no. 3 (November 2020): 260–75. http://dx.doi.org/10.1177/1746847720974971.
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Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instead, animation in virtual culture acts as real-time visualization of computer-mediated actions, their capture and documentation. Now that animation includes both captured and generated imagery, not only do its definitions change but its link to the realities depicted and the documentary value of animated representations requires rethinking. This article begins with definitions of animation and their relation to the perception of animation’s validity as documentary imagery; thereafter it examines indexicality and the strength of indexical visualizations, introducing a continuum of strong and weak indices to theorize the hybrid and complex forms of indexicality in animation, ranging from graphic user interfaces (GUI) to data visualization. The article concludes by examining four indexical connections in relation to physical and virtual reality, offering a theoretical framework with which to conceptualize animation’s indexing abilities in today’s mixed realities.
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Choi, Woong, Naoki Hashimoto, Ross Walker, Kozaburo Hachimura, and Makoto Sato. "Generation of Character Motion by Using Reactive Motion Capture System with Force Feedback." Journal of Advanced Computational Intelligence and Intelligent Informatics 12, no. 2 (March 20, 2008): 116–24. http://dx.doi.org/10.20965/jaciii.2008.p0116.
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Creating reactive motions with conventional motion capture systems is difficult because of the different task environment required. To overcome this drawback, we developed a reactive motion capture system that combines conventional motion capture system with force feedback and a human-scale virtual environment. Our objective is to make animation with reactive motion data generated from the interaction with force feedback and the virtual environment, using the fact that a person’s motions in the real world can be represented by the reactions of the person to real objects. In this paper we present the results of some animations made under various scenarios using animating reactive motion generation with our reactive motion capture system. Our results demonstrate that the reactive motion generated by this system was useful for producing the animation including scenes of reactive motion.
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Tian, Xiao Dong, Bo Xuan Wei, and Wei Ping Hu. "A Study of Clay Material Properties in Stop-Motion Animation." Advanced Materials Research 418-420 (December 2011): 34–37. http://dx.doi.org/10.4028/www.scientific.net/amr.418-420.34.
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Stop-motion animation is an ancient form of animation. After nearly a century of development, the material application of stop-motion animation becomes diversified. Currently, however, the well-known stop-motion animations are produced by clay materials. Clay materials play an important role in the application of stop-motion animation. Clay materials, because of its expressive ability demonstrated by its strong plasticity, enables the roles it has shaped lively and characteristic and the stop-motion animation to be full of affinity and vitality. This paper starts from the properties and material expressive ability of clay materials, combined with the short clay animation film named Daffodil to have a study and analysis of the vitality demonstrated by clay materials.
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Putri, Ni Luh. "Creating Animations with Powerpoint for Kindergarten Teachers in Dumoga Central District and Bolaang Mongondow District." International Journal of Research and Review 10, no. 11 (November 20, 2023): 315–18. http://dx.doi.org/10.52403/ijrr.20231136.
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The ability of kindergarten teachers to create animations is still far from "can," and they only create animations to meet specific requirements or tasks. In fact, compiling animations that were thought to be simple was not as simple as one might think. Creating animation appears to be the same as creating teaching materials in general. In fact, if the animation is organized according to the correct rules and regulations, compiling the animation becomes the most "difficult" research to complete. This is demonstrated by the situation of teachers who have been unable to correctly arrange animations. The community service program, which takes the form of learning media development training for kindergarten teachers in the Dumoga Tengah district, is expected to increase knowledge, skills, and confidence in their profession. Later on, teachers will be more motivated to develop themselves. The outcomes of this training will benefit schools by making the teaching and learning process more interesting by utilizing a wider range of learning media. Furthermore, the availability of training in the development of learning media will improve teachers' abilities to prepare their learning tools. Keywords: creating animation, PowerPoint
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Hernandez-Mendez, Sergio, Carlos Hernández-Mejía, Delia Torres-Muñoz, and Carolina Maldonado-Mendez. "The Optimization of Numerical Algorithm Parameters with a Genetic Algorithm to Animate Letters of the Sign Alphabet." Multimodal Technologies and Interaction 8, no. 7 (July 10, 2024): 61. http://dx.doi.org/10.3390/mti8070061.
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At present, the development of animation-based works for human–computer interaction applications has increased. To generate animations, actions are pre-recorded and animation flows are configured. In this research, from two images of letters of the sign language alphabet, intermediate frames were generated using a numerical traced algorithm based on homotopy. The parameters of a homotopy curve were optimized with a genetic algorithm to generate intermediate frames. In the experiments performed, sequences where a person executes pairs of letters in sign language were recorded and animations of the same pairs of letters were generated with the proposed method. Subsequently, the similarity of the real sequences to the animations was measured using Dynamic Time Wrapping. The results obtained show that the images obtained are consistent with their execution by a person. Animation files between sign pairs were created from sign images, with each file weighing an average of 18.3 KB. By having sequences between pairs of letters it is possible to animate words and sentences. The animations generated by this homotopy-based animation method optimized with a genetic algorithm can be used in various deaf interaction applications to provide assistance. From several pairs of letters a file base was generated using the animations between pairs of letters; with these files you can create animations of words and sentences.
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Tjandra, Agatha Maisie, and Maya Yonesho. "Collaborative Storytelling Animation." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 35–44. http://dx.doi.org/10.37312/imoviccon.v1i1.4.
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High mobility era these days bring new trends for everyone including animator to working travel and still have possibilities to create animation movie without their studio room. Gadget such as mobile device camera and small papers can be used by the animator to create photo sequence for creating stop motion animation movie. Moreover, new ideas for storytelling will come up from collaboration that probably happen along the animator’s trip. The process for collaborative idea to make storytelling will increase the empathy of animators and audience with the movie. This paper use qualitative data by interview, existing study and experience study to explain the collaborative process of Daumenreise Animation project in animators’ perspective and analyzing the movie by using storytelling elements in order to suggest a method to be applied in any small device storytelling media for animator traveler to create movie project.
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Arya, Kavi. "A functional animation starter-kit." Journal of Functional Programming 4, no. 1 (January 1994): 1–18. http://dx.doi.org/10.1017/s0956796800000915.
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AbstractA functional approach presents a fresh perspective on the problem of animation. We present an implementation of a functional animation system written in Haskell, and illustrate how it may be used to create simple and colourful animations.
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Nancy Jeane Tuturoong and Jimmy Reagen Robot. "3D Animation: Cultivation and Processing of Aren Juice Content in North Sulawesi." International Journal of Scientific Multidisciplinary Research 3, no. 2 (February 29, 2024): 127–36. http://dx.doi.org/10.55927/ijsmr.v3i2.8065.
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Aren trees are able to produce raw materials for the craft industry. Almost all parts of the date palm can be used or have a sale value. Aren cultivation is still rarely done due to a lack of attention to the development of Aren plants by various parties. This study aims to make an animated film introducing Aren cultivation which can introduce the process of Aren cultivation. Animations are made in Blender 3D, which is software for creating 3D objects and animations. The method of making animation consist of making storyboards, modelling and texturing, rigging, forming sets, animation and rendering, as well as editing and final rendering. The resulting 3d animation of cultivating Aren is loaded sequentially in the animation starting from geo-content of aren areas, cultivation and processing of the Aren juice until it is ready to be packaged
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Wang, Hua, Xiaoyu He, and Mingge Pan. "An Interactive and Personalized Erasure Animation System for a Large Group of Participants." Applied Sciences 9, no. 20 (October 18, 2019): 4426. http://dx.doi.org/10.3390/app9204426.
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This paper introduces a system to realize interactive and personalized erasure animations by using mobile terminals, a shared display terminal, and a database server for a large group of participants. In the system, participants shake their mobile terminals with their hands. Their shaking data are captured by the database server. Then there are immersive and somatosensory erasure animations on the shared display terminal according to the participants’ shaking data in the database server. The system is implemented by a data preprocessing module and an interactive erasure animation module. The former is mainly responsible for the cleaning and semantic standardization of the personalized erasure shape data. The latter realizes the interactive erasure animation, which involves shaking the mobile terminal, visualizations of the erasure animation on the shared display terminal, and dynamic and personalized data editing. The experimental results show that the system can realize various styles of personalized erasure animation and can respond to more than 2000 shaking actions simultaneously and present the corresponding erasure animations on the shared display terminal in real time.
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Rosanensi, Melati, Lanang Sakti, Heroe Santoso, Humaediah Lestari, Miftahul Madani, and Hasbullah. "Penyuluhan Bahaya Rokok Elektrik Menggunakan Animasi 2 Dimensi Iklan Layanan Masyarakat pada Pemuda Desa." JILPI : Jurnal Ilmiah Pengabdian dan Inovasi 2, no. 2 (December 30, 2023): 575–86. http://dx.doi.org/10.57248/jilpi.v2i2.347.
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The aim of this Community Service is to provide education to the public about the dangers of electronic cigarettes which are used as a substitute for conventional cigarettes using 2-dimensional animation of public service advertisements. research methods using: concept, design, material collecting, assembly, testing and distribution. The initial stage that must be carried out is to think about the concept. This stage is used to determine the goal, namely to produce a 2-dimensional animation of public service advertisements on the dangers of electronic cigarettes to make it easier for the community, especially young people in Suntalangu village, to know the dangers of electronic cigarettes, what they are, and who will be the object in This public service advertisement, namely this animation, is aimed at the community, especially youth in Suntalangu village with ages ranging from 13 years to 60 years or passive or active e-cigarette users. Then carry out 2-dimensional animation designs on public service advertisements such as designing images, text, audio, video and animation. then collect materials such as making a 2D animated film in the form of characters, backgrounds, audio files and other supporting materials. After that comes the creation stage, namely editing characters and objects, animating, rendering, dubbing up to the final editing. then testing is carried out to see whether the public service advertisement has been successfully created. And the final stage is distributing or distributing 2-dimensional animations of public service advertisements. The result is that it is hoped that young people will avoid or not use e-cigarettes again.
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Jia, Shiyang, Stephanie Wang, Tzu-Mao Li, and Albert Chern. "Physical Cyclic Animations." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 3 (August 16, 2023): 1–18. http://dx.doi.org/10.1145/3606938.
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We address the problem of synthesizing physical animations that can loop seamlessly. We formulate a variational approach by deriving a physical law in a periodic time domain. The trajectory of the animation is represented as a parametric closed curve, and the physical law corresponds to minimizing the bending energy of the curve. Compared to traditional keyframe animation approaches, our formulation is constraint-free, which allows us to apply a standard Gauss--Newton solver. We further propose a fast projection method to efficiently generate an initial guess close to the desired animation. Our method can handle a variety of physical cyclic animations, including clothes, soft bodies with collisions, and N-body systems.
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Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.
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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
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Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.
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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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Arie Arfandi Andjar, Elda Franzia, and Achmad Syarief. "PERANCANGAN ANIMASI PENDEK BISINDO UNTUK ANAK TULI DESIGN OF BISINDO LEARNING SHORT ANIMATION FOR DEAF CHILDREN." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 5, no. 1 (November 1, 2022): 105–18. http://dx.doi.org/10.25105/jsrr.v5i1.15280.
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Abstract Animation that can function as informal learning media have been widely available in the internet, however animations containing BISINDO learning, where the animated characters perform sign language are still very rare. Like normal children, deaf children also have the right to get animate shows that can be used as informal learning medium. This research aims to produce an animation that contain BISINDO learning elements in it. In conducting the research, an exploratory sequential mixed method approach was used which went through three stages. The first stage is data collection which result in identification of visual content an teaching concepts of BISINDO. The second stage is making the animation process, in which the animation result are shown to deaf children to be evaluated how the comprehension and interest of deaf children towards the animation. From the evaluation, it can be concluded that deaf children are interested in the animation’s visual and understand the sign language conveyed in it.Keywords: deaf, BISINDO, animation, informal learning medium Abstrak Animasi yang dapat berfungsi sebagai media pembelajaran informal telah banyak beredar dijejaring, akan tetapi animasi yang membuat pembelajaran BISINDO dimana karakter dari animasi tersebut melakukan gerakan bahasa isyarat masih jarang. Sebagaimana anak dengar, anak Tuli juga berhak untuk mendapatkan tontonan animasi yang bisa menjadi media pembelajaran informal. Penelitian bertujuan untuk menghasilkan animasi yang terdapat unsur pembelajaran BISINDO di dalamnya. Dalam melakukan penelitian digunakan metode penelitian sekuensial campuran yang melalui tiga tahapan. Tahap pertama adalah pengumpulan data yang menghasilkan identifikasi konten visual dan konsep pengajaran BISINDO. Tahap kedua adalah pembuatan animasi, yang mana hasil animasi diperlihatkan pada anak Tuli untuk dievaluasi pemahaman dan ketertarikan terhadap animasi. Dari evaluasi terlihat bahwa anak tuli tertarik dengan visual animasi dan paham akan konten bahasa isyarat yang disampaikan. Kata kunci: tuli, BISINDO, animasi, media pembelajaran informal
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Yeh, Chih-Kuo, Zhanping Liu, David L. Kao, and Tong-Yee Lee. "Animating streamlines with orthogonal advancing waves." Information Visualization 12, no. 3-4 (November 21, 2012): 257–72. http://dx.doi.org/10.1177/1473871612458507.
Full textAbstract:
Self-animating image of flow through repeated asymmetric patterns (RAPs) is an innovative approach for creating illusory motion using a single image. In this paper, we present a smooth cyclic variable-speed RAP animation model that emulates orthogonal advancing waves from a geometry-based flow representation. It enables dense, accurate visualization of complex real-world flows using animated streamlines of an elegant placement coupled with visually appealing orthogonal advancing waves. The animation model first performs velocity (magnitude) integral luminance transition on individual streamlines. Then, inter-streamline synchronization in luminance varying along the tangential direction is imposed. Next, tangential flow streaks are constructed using evenly spaced hue differing in the orthogonal direction. In addition, an energy-decreasing strategy is proposed that adopts an iterative yet efficient procedure for determining the luminance phase and hue of each streamline in HSL (hue, saturation, and lightness or brightness) color space. To increase the contrast between flow streaks, adaptive luminance interleaving in the direction perpendicular to the flow is further applied. We demonstrate the effectiveness of the animation model using some synthetic and real flows. Color figures, images, and accompanying animations are available at http://graphics.csie.ncku.edu.tw/flowvis .
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Sarassati, Renovita, Amrullah Amrullah, and Ahmad Saipullah. "Media Video Animasi 3D Sebagai Salah Satu Pembelajaran." CICES 4, no. 1 (February 28, 2018): 113–24. http://dx.doi.org/10.33050/cices.v4i1.482.
Full textAbstract:
3D animation is the creation of moving images in 3 dimensional digital space. This is done by creating a frame that simulates each image. In 3D video animation learning is very much in the interest of today's society and the future, so the 3D media is very important in making animation, filmed with a virtual camera, and the output of the video which is already rendering or Realtime, if the goal is to create a game. 3D animations typically display at speeds in excess of 24 frames per second. The concept of 3D animation itself is a model that has the shape, volume, and space. 3D animation is at the heart of gaming and virtual reality, but usually 3D animation is also used in graphical presentations to add visual effects or movies.
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Multimäki, Salla, Andreas Hall, and Paula Ahonen-Rainio. "Comparison of Temporally Classified and Unclassified Map Animations." Cartographic Perspectives, no. 82 (April 29, 2016): 5–14. http://dx.doi.org/10.14714/cp82.1296.
Full textAbstract:
While animation is a natural and, under certain circumstances, effective way to present spatio-temporal information, it has its limitations. Studying animations of large point datasets can be cognitively very demanding. Aiming to help users to comprehend such data, this study presents a new concept of temporal classification. A phenomenon is classified into periods of increasing, decreasing, and steady intensity, and each is assigned different colours in an animation. This concept was tested with a group of experts in the field of the phenomenon. The results suggest that this kind of classified animation, together with a traditional animation presenting the same dataset, supports users in their analysis process and adds to the impression they get of the phenomenon. It also seems that the viewing order of the animations matters: the full potential of the tested method is reached by viewing the traditional version first and temporally classified version after that.
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Herdhiani, Muhammad Ferza, and Prima Widia Wastuty. "PERANCANGAN STUDIO ANIMASI DI BANJARBARU." JURNAL TUGAS AKHIR MAHASISWA LANTING 12, no. 1 (February 28, 2023): 38–44. http://dx.doi.org/10.20527/jtamlanting.v12i1.1783.
Full textAbstract:
The growth of the animation and video film sector was the highest in 2018 at 10.18%. This sector is a new opportunity for animators and VFX artists. Animation creators in South Kalimantan need a place to accommodate their skills in the form of an animation studio. The existence of an animation studio in Banjarbaru, South Kalimantan, opens up job opportunities for graduates of high schools (SMK) who focus on making animations. An animation studio will require a building design that will provide comfort for its users, so the space program needs to be considered and arranged efficiently. The problem raised in the studio design is how to design an animation studio that has an effective relationship between spaces and can provide ideas in the development of stories and the process of making animation? This problem is solved by preparing a space program based on the flow of the animation making work process and differentiating activity zones. The animation studio carries the concept of "Nature Feels" for relaxation and provides a sense of comfort in the work process. This atmosphere can also stimulate ideas in animation making.