Journal articles: 'Data Animation'

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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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Esponda-Argüero, Margarita. "Techniques for Visualizing Data Structures in Algorithmic Animations." Information Visualization 9, no. 1 (January 29, 2009): 31–46. http://dx.doi.org/10.1057/ivs.2008.26.

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This paper deals with techniques for the design and production of appealing algorithmic animations and their use in computer science education. A good visual animation is both a technical artifact and a work of art that can greatly enhance the understanding of an algorithm's workings. In the first part of the paper, I show that awareness of the composition principles used by other animators and visual artists can help programmers to create better algorithmic animations. The second part shows how to incorporate those ideas in novel animation systems, which represent data structures in a visually intuitive manner. The animations described in this paper have been implemented and used in the classroom for courses at university level.

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HALFON, EFRAIM, and MORLEY HOWELL. "VISUALIZATION OF LIMNOLOGICAL DATA AS TWO- AND THREE-DIMENSIONAL COMPUTER GENERATED ANIMATIONS." Journal of Biological Systems 02, no. 04 (December 1994): 443–52. http://dx.doi.org/10.1142/s0218339094000271.

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DATA ANIMATOR is a software program to develop and display limnological data as computer generated animations. The purpose of the program is to visualize in a dynamical fashion a variety of data collected in lakes. Examples are originated from Hamilton Harbour, Lake Ontario. Data collected at different stations and different times are interpolated in space and in time. Lake topography and lake bathymetry files are used to relate data collected in the lake(s) with topographical features. A graphic user interface allows the user to choose two- or three-dimensional views, a viewpoint, fonts, colour palette, data and keyframes. A typical 1800 frame animation can be displayed in a minute at 30 frames per second. Rendering time is about 12 hours. Animations can be displayed on a monitor or transferred to video tape.

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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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Kim, Yejin, and Myunggyu Kim. "Data-Driven Approach for Human Locomotion Generation." International Journal of Image and Graphics 15, no. 02 (April 2015): 1540001. http://dx.doi.org/10.1142/s021946781540001x.

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This paper introduces a data-driven approach for human locomotion generation that takes as input a set of example locomotion clips and a motion path specified by an animator. Significantly, the approach only requires a single example of straight-path locomotion for each style expressed and can produce a continuous output sequence on an arbitrary path. Our approach considers quantitative and qualitative aspects of motion and suggests several techniques to synthesize a convincing output animation: motion path generation, interactive editing, and physical enhancement for the output animation. Initiated with an example clip, this process produces motion that differs stylistically from any in the example set, yet preserves the high quality of the example motion. As shown in the experimental results, our approach provides efficient locomotion generation by editing motion capture clips, especially for a novice animator, at interactive speed.

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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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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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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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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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Stuckey, Owen. "A Comparison of ArcGIS and QGIS for Animation." Cartographic Perspectives, no. 85 (June 22, 2017): 23–32. http://dx.doi.org/10.14714/cp85.1405.

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I compare two GIS programs which can be used to create cartographic animations—the commercial Esri ArcGIS and the free and open-source QGIS. ArcGIS implements animation through the “Time Slider” while QGIS uses a plugin called “TimeManager.” There are some key similarities and differences as well as functions unique to each plugin. This analysis examines each program’s capabilities in mapping time series data. Criteria for evaluation include the number of steps, the number of output formats, input of data, processing, output of a finished animation, and cost. The comparison indicates that ArcGIS has more control in input, processing, and output of animations than QGIS, but has a baseline cost of $100 per year for a personal license. In contrast, QGIS is free, uses fewer steps, and enables more output formats. The QGIS interface can make data input, processing, and output of an animation slower.

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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.

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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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Thifala, Anisa Zalfa, Mitra Istiar Wardhana, and Arif Sutrisno. "Perancangan Animasi 2D Mengenai Upaya Pencegahan Penyakit Saat Musim Hujan." JoLLA: Journal of Language, Literature, and Arts 1, no. 7 (July 31, 2021): 995–1009. http://dx.doi.org/10.17977/um064v1i72021p995-1009.

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Abstract: The high cases of disease spread during the rainy season must be overcome quickly and in various ways. A lot of socialization has been carried out, but it has not been spread evenly. Therefore, the design of this animation helps to spread information quickly and easily. Design is the activity of compiling the manufacture of a product from the initial idea to the final product. This animation design uses 3 stages, namely pre-production, production, and post-production. Pre-production is done by collecting and analyzing data, creating concepts, scripts, and storyboards, designing characters, properties, and environments. Meanwhile, the production is conducted through layout, animation, dubbing & sound effects, and compositing. Finally, post-production is conducted through editing, rendering, and publishing. The results of this animation design are animations that describe the symptoms of disease and disease prevention efforts during the rainy season. This animation has a duration of about 3 minutes in an mp4 format. This animation was published on the youtube channel. Keywords: monsoon disease, design, animation Abstrak: Tingginya kasus penyebaran penyakit saat musim hujan harus dapat diatasi dengan cepat dan berbagai cara. Sudah banyak sosialisasi yang dijalankan, tetapi belum tersebar secara merata. Oleh karena itu perancangan animasi ini membantu menyebarkan informasi dengan cepat dan mudah. Perancangan adalah kegiatan menyusun pembuatan suatu produk mulai dari ide awal hingga hasil akhir produk. Perancangan animasi ini menggunakan 3 tahap, yaitu pra produksi, produksi dan pasca produksi. Pra produksi dilakukan dengan pengumpulan dan analisis data, pembuatan konsep, script dan storyboard, desain karakter, properti dan environment. Sedangkan produksi yaitu layout, animating, dubbing & sound effect, dan compositing. Terakhir yaitu pasca produksi, tahap pasca produksi yaitu editing, rendering dan publishing. Hasil dari perancangan animasi ini yaitu animasi yang menggambarkan gejala penyakit dan upaya pencegahan penyakit saat musim hujan. Animasi ini memiliki durasi sekitar 3 menit dalam sebuah format mp4. Animasi ini dipublikasikan melalui kanal youtube. Kata kunci: penyakit musim hujan, perancangan, animasi

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Sutrisno, Arif. "STUDI PERBANDINGAN ANIMASI 360 DERAJAT BERTEMA SEJARAH." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 6, no. 1 (April 16, 2021): 22. http://dx.doi.org/10.17977/um037v6i12021p22-34.

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To identify general characteristics of historical-themed 360o animation, visual characteristics, and ways of delivering material in historical learning media, this study attempts to compare three historical-themed 360o animations, namely the game trailler Assassin's Creed Syndicate Jack the Ripper, Dinosaurs World 360 VR, and Dunkirk 'Save Every Breath'. This research method is by determine the benchmark focus, planning and research, data collection, implementation, recommendations, and analysis. In general, historical 360o animation uses 3D animation techniques. The flow used tends to be linear with narrative storytelling. The point of view used is first person. The camera movement used is a follow subject. Key Words: Animation 360 Degree, Learning Media, History

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Oh, Eui-Sang, and Jung-Hwan Sung. "Simulation of Virtual Marionette with 3D Animation Data." Journal of the Korea Contents Association 9, no. 12 (December 28, 2009): 1–9. http://dx.doi.org/10.5392/jkca.2009.9.12.001.

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Halfon, Efraim. "Data Animator — Software that Visualizes Data as Computer-Generated Animation on Personal Computers: an Application to Hamilton Harbour." Water Quality Research Journal 31, no. 3 (August 1, 1996): 609–22. http://dx.doi.org/10.2166/wqrj.1996.034.

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Abstract Data Animator, V1.0, is a scientific visualization package for microcomputers. Its main purpose is to generate two-dimensional animations from any data set collected over time. Geographical references such as a shore and/or bathymetry information, etc., may be added for additional clarity. Visualization of data as animations greatly simplifies the interpretation of field measurements. Data Animator is designed (but not restricted) to display data collected in aquatic environments, lakes, rivers, estuaries, oceans, etc., in a clear, concise way using colour to represent ranges of data values. Data sets can also be displayed as static images (keyframes). A graphic user interface allows the user to choose viewpoint, fonts, colour palette, data and keyframes. All Data Animator's options can be accessed through a graphical user interface (GUI). Point-and-click mouse operations allow the user to manipulate many features, with immediate on-screen feedback. Animations are generated by defining keyframes of known data, each located at a specific time. The program can then interpolate over time, between keyframes, to create smoothly animated transitions (in-between frames). Two types of graphs can be rendered with Data Animator. Plane-type graphs are horizontal slices at a depth specified by the user. Transect-type graphs are vertical slices along a straight line defined by the user. Data Animator can make use of both shore outline information and three-dimensional bathymetry information. This allows for the generation of realistic-looking graphs that follow the shape of the aquatic environment. Animations can be displayed on a computer monitor or transferred to video tape. pH data from Hamilton Harbour have been visualized and the results are discussed.

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O'Day, Danton H. "Animated Cell Biology: A Quick and Easy Method for Making Effective, High-Quality Teaching Animations." CBE—Life Sciences Education 5, no. 3 (September 2006): 255–63. http://dx.doi.org/10.1187/cbe.05-11-0122.

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There is accumulating evidence that animations aid learning of dynamic concepts in cell biology. However, existing animation packages are expensive and difficult to learn, and the subsequent production of even short animations can take weeks to months. Here I outline the principles and sequence of steps for producing high-quality PowerPoint animations in less than a day that are suitable for teaching in high school through college/university. After developing the animation it can be easily converted to any appropriate movie file format using Camtasia Studio for Internet or classroom presentations. Thus anyone who can use PowerPoint has the potential to make animations. Students who viewed the approximately 3-min PowerPoint/Camtasia Studio animation “Calcium and the Dual Signalling Pathway” over 15 min scored significantly higher marks on a subsequent quiz than those who had viewed still graphics with text for an equivalent time. In addition, results from student evaluations provided some data validating the use of such animations in cell biology teaching with some interesting caveats. Information is also provided on how such animations can be modified or updated easily or shared with others who can modify them to fit their own needs.

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Zhang, Long, Yubo Zhang, Zhongding Jiang, Luying Li, Wei Chen, and Qunsheng Peng. "Precomputing data-driven tree animation." Computer Animation and Virtual Worlds 18, no. 4-5 (2007): 371–82. http://dx.doi.org/10.1002/cav.205.

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Sun, W., A. Hilton, R. Smith, and J. Illingworth. "Layered animation of captured data." Visual Computer 17, no. 8 (November 2001): 457–74. http://dx.doi.org/10.1007/s003710100121.

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Howe, Daniel C., Qianxun Chen, and Zong Chen. "Advertising Positions: Data Portraiture as Aesthetic Critique." Leonardo 51, no. 4 (August 2018): 413–18. http://dx.doi.org/10.1162/leon_a_01652.

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Advertising Positions integrates 3D scanning, motion capture, novel image mapping algorithms and custom animation to create data portraits from the advertisements served by online trackers. Project volunteers use bespoke software to harvest the ads they receive over months of browsing. When enough ads have been collected, the volunteer is interviewed, 3D scanned and motion captured. Each ad is then mapped to a single polygon on the textured skin of their virtual avatar. Outcomes have been displayed as 2D/3D images, animations and interactive installations.

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Wolfe, Rosalee, Peter Cook, John C. McDonald, and Jerry Schnepp. "Linguistics as structure in computer animation." Nonmanuals in Sign Language 14, no. 1 (August 11, 2011): 179–99. http://dx.doi.org/10.1075/sll.14.1.09wol.

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Computer-generated three-dimensional animation holds great promise for synthesizing utterances in American Sign Language (ASL) that are not only grammatical, but well-tolerated by members of the Deaf community. Unfortunately, animation poses several challenges stemming from the necessity of grappling with massive amounts of data. However, the linguistics of ASL may aid in surmounting the challenge by providing structure and rules for organizing animation data. An exploration of the linguistic and extralinguistic behavior of the brows from an animator’s viewpoint yields a new approach for synthesizing nonmanuals that differs from the conventional animation of anatomy and instead offers a different approach for animating the effects of interacting levels of linguistic function. Results of formal testing with Deaf users have indicated that this is a promising approach.

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Kusuma Putra, Gede Lingga Ananta, and Gede Pasek Putra Adnyana Yasa. "POPULARITAS ANIMASI UPIN IPIN PADA ANAK-ANAK DI BALI." Jurnal Nawala Visual 1, no. 2 (October 29, 2019): 122–26. http://dx.doi.org/10.35886/nawalavisual.v1i2.45.

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Animation is one of the media affected by technological development. As technology develops, animation can now be done through a computerized system. Upin and Ipin is one of the animations created through a computerized system and is favored by children. This animation produced in Malaysia has a simple, easy to digest everyday story and has an attractive three-dimensional visual display. This study aims to analyze what 3-dimensional animation and its opportunities to the audience, especially children. The study data collection was done through observation of several children who are always bound to watch animation. The analysis shows that children especially in Bali are quite interested in 3-dimensional animation, one of which is Upin Ipin animation. Interest in 3-dimensional animation, especially Upin Ipin, is quite influential for children. The most visible influence is in the form of daily behavior, as well as Malay dialect and dialect when talking to his friends, parents, and people around him. In fact, due to the influence of Upin Ipin, the words and sentence structure expressed are not like the sentence structure in Indonesian in general. This phenomenon implies that 3-dimensional animation has a good opportunity to be developed, the indicator is that children are very enthusiastic and interested in 3-dimensional animation.

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Dougherty, M. T., and W. Chiu. "Using Animation to Enhance 3D Visualization: A Strategy for a Production Environment." Microscopy and Microanalysis 4, S2 (July 1998): 452–53. http://dx.doi.org/10.1017/s1431927600022388.

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The use of animation can significantly enhance the visualization of three-dimensional (3D) structures. It can present a focused train of thought, or it can be used to systematically scan through previously unfathomable quantities of data to examine for unknown features and consistencies. In order to establish a modern animation facility requires a variety of technical, psychological and artistic skills, in addition to advanced computer graphics and related equipment. 3D graphics combined with animation has proven to be a very effective tool in storytelling. The dynamic visual image is uniquely suited for thought experiments, simulations and traversing vast quantities of data otherwise incomprehensible to the human mind. Sometimes animation is the only method that allows a clear presentation of complex empirical or theoretical information in many dimensions. Scientific visualization is by its nature an exploratory process. And frequently animations are iteratively refined and polished to enhance comprehensibility for the researchers and their peers.

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Ehlschlaeger, Charles R., Ashton M. Shortridge, and Michael F. Goodchild. "Visualizing spatial data uncertainty using animation." Computers & Geosciences 23, no. 4 (May 1997): 387–95. http://dx.doi.org/10.1016/s0098-3004(97)00005-8.

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Klasky, R. S. "Computer animation for visualizing terrain data." IEEE Computer Graphics and Applications 9, no. 3 (May 1989): 12–13. http://dx.doi.org/10.1109/38.28105.

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Upson-Taboas, Charity F., Ruben Montoya, and Valerie Dean O’Loughlin. "Impact of cardiovascular embryology animations on short-term learning." Advances in Physiology Education 43, no. 1 (March 1, 2019): 55–65. http://dx.doi.org/10.1152/advan.00121.2018.

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An understanding of human embryology is essential for students to better understand the subjects of human anatomy and physiology. However, human embryology is a challenging subject for many, since they must learn how anatomic structures and physiological processes develop over a period of time. Embryology texts typically use static, two-dimensional images to illustrate the dynamic three-dimensional developmental processes, making it difficult for a student to understand spatial relationships and sequential steps. To help students conceptualize these series of complex dynamic developmental events that occur over time, two of the authors and a graphic artist developed six web-based cardiovascular embryology animations and housed them on an Indiana University website. This research study examines knowledge gains and user satisfaction of students, faculty, and laypeople around the world who accessed these six website animations. Data collection spanned 6 yr, and pretest/posttest assessments (ranging from 4 to 7 multiple-choice questions each) were used to determine immediate knowledge gains of cardiovascular embryology. The total number of completed pretest/posttest assessments ranged from 555 to 1,449 per animation. The number of correct posttest scores was significantly improved over matched pretest scores (confidence interval range 1.3–3.2, depending on the animation, P < 0.001), suggesting the animations are useful for embryology learning (at least in the short term). Demographic and user satisfaction information was gathered with an anonymous survey at the end of each animation. Survey data from all animations indicated participants found the animations easy to use and very effective for their learning. This research highlights the positive impacts of web-based animations on learning complicated events of cardiovascular embryology.

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Putra, Gede Lingga Ananta Kusuma, and Gede Pasek Putra Adnyana Yasa. "ESTETIKA KARAKTER ANIMASI PADA MEDIA KOMUNIKASI SOSIAL DENGAN KATEGORI AUDIENCE REMAJA." Jurnal Bahasa Rupa 4, no. 1 (October 28, 2020): 10–16. http://dx.doi.org/10.31598/bahasarupa.v4i1.576.

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Animation currently shows a fairly high level of flexibility due to the influence of increasingly rapid technological advances. An animation should ideally have aesthetic value, by knowing the aesthetic location in the animation, it is hoped that the social communication process will be more effective. In this article, we use a qualitative method by examining several existing animations, and using literature related to the cases raised in order to obtain more accurate data. Ethical values are needed in a communication medium, in order to attract the attention of the target audience, so that the information contained in the media can be conveyed. Implementation of the aesthetic of animated characters can apply the principle of appeal, so that these characters become more attractive.

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Suhandi, Andi, and Muhamad Nur. "PENGARUH BUTIR SOAL DALAM FORMAT ANIMASI TERHADAP HASIL TES PEMAHAMAN KONSEP PEMBIASAN CAHAYA." Jurnal Pengajaran Matematika dan Ilmu Pengetahuan Alam 15, no. 1 (January 13, 2015): 40. http://dx.doi.org/10.18269/jpmipa.v15i1.294.

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This study investigates the effect of computer animation on assessment of conceptual understanding in refraction phenomena. An instrument was developed by replacing static pictures and descriptions of ray motion on refraction phenomena with computer animations, a commonly used pencil and paper test. Both quantitative and qualitative data were collected. The animated and static versions of the test were given to students and the results were statistically analyzed. The questionnaire was also conducted to provide the student responses about using of animated version test on assessment of conceptual understanding in refraction phenomena. The results suggest that the use of the animation version of the test can be improving score of the conceptual understanding test in refraction phenomena. In general, students had a better understanding of the intent of the question when viewing an animation and gave an answer that was more indicative of their actual understanding, as reflected in the response of the questionnaire.Keywords: animation version test, conceptual understanding test, refraction phenomena

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Ulfah, Ummi, and Syarif Hidayatulloh. "Pengenalan Benda-benda Bersejarah Museum Fatahillah Melalui Pemanfaatan Media Animasi Interaktif Untuk Anak Sekolah Dasar." Jurnal Teknik Komputer 5, no. 2 (August 1, 2019): 249–58. http://dx.doi.org/10.31294/jtk.v5i2.5469.

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- Interactive animation is a learning media that is quite interesting for children. This is because learning how to use animation is not difficult and more fun for elementary school children than learning to use printed picture books or encyclopedias. This interactive animation was created to introduce Fatahillah museum objects to children. This animation was made to provide knowledge for children about objects in the Fatahillah museum. In addition, this can also be a more interesting and new learning method for school children. In developing existing material, in this study three methods of data collection techniques will be used including observation, interviews and literature. Then for the system development model, it has been tested using software requirements analysis, design, coding, testing, and support. In this study also used some software to build interactive animations to be created including Adobe Flash CS 3 and Adobe Photoshop CS 6. The results of the analysis showed that the introduction process through interactive animation media had a major influence in improving the understanding of elementary school children about introductory material object of Fatahillah museum, this is because children's understanding will be better with explanations that use images, sound effects, and visuals.

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주은정, Jehee Lee, and Sohmin Ahn. "Data-driven Facial Animation Using Sketch Interface." Journal of the Korea Computer Graphics Society 13, no. 3 (September 2007): 11–18. http://dx.doi.org/10.15701/kcgs.2007.13.3.11.

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Yu, Li, Aidong Lu, William Ribarsky, and Wei Chen. "Automatic Animation for Time-Varying Data Visualization." Computer Graphics Forum 29, no. 7 (September 2010): 2271–80. http://dx.doi.org/10.1111/j.1467-8659.2010.01816.x.

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Kruiger, Johannes, Almoctar Hassoumi, Hans-Jörg Schulz, AlexandruC Telea, and Christophe Hurter. "Multidimensional Data Exploration by Explicitly Controlled Animation." Informatics 4, no. 3 (August 20, 2017): 26. http://dx.doi.org/10.3390/informatics4030026.

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Stephenson, Joan. "AIDS Data Animation Maps Evolving US Epidemic." JAMA: The Journal of the American Medical Association 274, no. 10 (September 13, 1995): 784. http://dx.doi.org/10.1001/jama.1995.03530100018007.

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Jang, E. S., J. D. K. Kim, S. Y. Jung, M. J. Han, S. O. Woo, and S. J. Lee. "Interpolator Data Compression for MPEG-4 Animation." IEEE Transactions on Circuits and Systems for Video Technology 14, no. 7 (July 2004): 989–1008. http://dx.doi.org/10.1109/tcsvt.2004.830670.

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Wilkie, David, Jason Sewall, and Ming Lin. "Flow reconstruction for data-driven traffic animation." ACM Transactions on Graphics 32, no. 4 (July 21, 2013): 1–10. http://dx.doi.org/10.1145/2461912.2462021.

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Huhnt, Wolfgang, Sven Richter, Steffen Wallner, Tarek Habashi, and Torsten Krämer. "Data management for animation of construction processes." Advanced Engineering Informatics 24, no. 4 (November 2010): 404–16. http://dx.doi.org/10.1016/j.aei.2010.07.009.

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Sato, Nahoko, and Luke S. Hopper. "Judges’ evaluation reliability changes between identifiable and anonymous performance of hip-hop dance movements." PLOS ONE 16, no. 1 (January 25, 2021): e0245861. http://dx.doi.org/10.1371/journal.pone.0245861.

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Hip-hop competitions are performed across the world. In the recent inclusion in the 2018 Youth Olympic Games, the assessment of hip-hop performance is undertaken by a panel of judges. The purpose of this study was to determine the reliability of different visualisation tools utilised in the assessment of the hip-hop dance movements. Ten dancers performed basic rhythmic hip-hop movements which were captured using a motion capture system and video camera. Humanoid and stick figure animations of the dancers’ movements were created from the motion capture data. Ten judges then assessed 20 dance trials through observation using three different visualisation tools on a computer display, each of which provided different representations of a given hip-hop performance: (1) the actual video of the dancers; (2) an anonymous stick figure animation; (3) an anonymous humanoid animation. Judges were not informed that they were repeating an assessment of the performances across the three visualisation tools. The humanoid animation demonstrated the highest inter-class correlation coefficients among the three methods. Despite the stick figure animation demonstrating moderate to high reliability, both the humanoid animation and the video demonstrated very high reliability in the intra-class correlation coefficient. It is recommended that further research is undertaken exploring the use of humanoid animation as a formative assessment tool in the evaluation of hip-hop dance and the evolution of hip-hop into a respected artistic athletic discipline.

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Klotsman, Marina, and Ayellet Tal. "Animation of Flocks Flying in Line Formations." Artificial Life 18, no. 1 (December 2011): 91–105. http://dx.doi.org/10.1162/artl_a_00050.

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We provide a biologically motivated technique for modeling and animating bird flocks in flight, which produces plausible and realistic-looking flock animations. While most previous approaches have focused on animating cluster formations, this article introduces a technique for animating flocks that fly in certain patterns, so-called line formations. We distinguish between the behavior of such flocks during initiation and their behavior during steady flight. Our simulation of the initiation stage is rule-based and incorporates an artificial bird model. Our simulation of the steady-flight stage combines a data-driven approach and an energy-savings model.

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Borodeńko, Daniel, and Olga Ilona Smoleńska. "Identification of advantages (benefits) and barriers (threats) in the work of a hotel animator." Studia Periegetica 30, no. 2 (March 22, 2020): 61–77. http://dx.doi.org/10.5604/01.3001.0014.1219.

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During a single season, animators work with several thousand hotel guests. Parents and their children expect entertainment and attractions at a high level. Certainly, animation is a lot of fun. However, it is associated with numerous challenges. The aim of this study described in this article was to identify the most common benefits and challenges reported by animators in the survey conducted the by authors. The first part outlines the job of a leisure animator in the light of the literature. The main part is concerned with the benefits of working as an animator and challenges that animators can face in their work. The study is based on data collected during an online questionnaire survey involving 110 animators from Poland, working in various travel agencies. The findings confirm the main hypothesis of the study: opportunities to interact with people and travel are the most frequently reported advantages of leisure animation. Animation is also seen as a chance for self-fulfillment and continuous development. However, the job is associated with a lot of stress and long working hours, which constitute one of its challenges.

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Sun, Qinggang, and Sang-Bing Tsai. "An Empirical Study on Application of Virtual Reality Animation Technology by Big Data Model." Mathematical Problems in Engineering 2021 (June 25, 2021): 1–9. http://dx.doi.org/10.1155/2021/1067954.

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Regional cultural and creative products are paying more attention to the cultural core of their design and communication, while satisfying the basic design elements of appearance, function, and aesthetics; therefore, agricultural cultural and creative image (ACCI) also has its dual attributes of culture and commerce. Virtual reality (VR) animation technology can integrate video, text, and model into one, comprehensively display the three-dimensional digital content of regional cultural characteristics, bring users an immersive viewing experience, and enhance their interest in traditional culture, beneficial to the spreading and inheriting traditional culture. On the basis of summarizing and analyzing previous research works, this paper analyzed the development background, current status, and future challenges of VR animation technology and expounded the research situation and significance of design and dissemination of ACCI. Further, this paper proposed the design method, communication model, and approaches of ACCI based on VR animation technology, explored the reshaping of ACCI’s digital elements, resolution of ACCI’s artistic features, and discovery of ACCI’s artistic values, constructed the platform architecture and implementation technology of VR animation, and finally discussed the issue of the integration and innovation of cultural products and VR animation technology. Excellent regional cultural and creative products can achieve the multiple goals of promoting product sales, improving design aesthetics, and spreading cultural characteristics by pursuing cultural and creative values. The ACCI based on VR animation technology not only makes customers pay attention to the agricultural brands and consuming their products but also promotes regional identity and disseminate regional culture, inspiring the potential awareness of tourism and shopping and driving the economic development.

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Swatriani, Rinkapati. "KONSTRUKSI KARAKTER JABO DALAM ANIMASI BINEKON." Narada : Jurnal Desain dan Seni 7, no. 1 (April 2, 2020): 31. http://dx.doi.org/10.22441/narada.2020.v7.i1.003.

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Animation in Indonesia has developed, this time there are many agencies starting designing animations,both 2 dimension ar 3 dimension, just call one of them is Belantara Studio which has made several animated series including Binekon which tells about 5 characters representing the culture of the archipelago. Each character has its own characteristic which is a representation of the archipelago's cultural community, the focus of this research will be on the character of Jabo in the Coconut episode, is described that he can help his friends in solving problems. Primary data in this study is the perception of researchers, in this case, the researcher will give thought in studying visual signs is contained in the Binekon animation with semiotic Barthes analysis.

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Retnowati, Nurcahyani Dewi, Yenni Astuti, and Supri Ermanto. "ANIMASI 3D PENDUKUNG SIMULASI FUNGSI FLIGHT CONTROLS DAN LANDING GEARS SUPRI SUKHOI SUPERJET 100." Conference SENATIK STT Adisutjipto Yogyakarta 1 (December 1, 2013): 93. http://dx.doi.org/10.28989/senatik.v1i0.43.

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Animations are one of multimedia technology which can accelerate the perspective about something, including the aircraft flight controls and landing gears function. Production process of animation on 3 Dimensional Aircraft model Supri Sukhoi Superjet 100 using NURBS Modelling method. Production process of animation on 3 Dimensional Aircraft model Supri Sukhoi Superjet 100 using Pre Production, Production and Post Production, that the result can be presented in the form of simulation video, Flash game, and Powerpoint game. The special effect that added into model, video and game make it more attractive. The Results are tested on number of respondents who are Experts in the Aircraft Engineering. The Data showed that Almost to 100 percent of the components and fuctions of the aircraft.

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Suparmaniam, Chitra, and Maizatul Hayati Mohamad Yatim. "EFFECTIVENESS OF INDIAN FOLKLORE ANIMATION ON MOTIVATION AMONG YEAR FIVE PUPILS IN KULIM DISTRICT." International Journal of Modern Education 2, no. 7 (December 7, 2020): 01–12. http://dx.doi.org/10.35631/ijmoe.27001.

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The article discusses a study to measure the effectiveness of Indian Folklore Animation among Year Five SJK(T) pupils in the Kulim district. The study uses qualitative data for exploring twelve principles of animation and quantitative data for the research methodology approach. For qualitative data, ten animators were selected to analyse the twelve principles of animation in three series of selected Indian Folklore Animation using an animation principles checklist. For quantitative data, a pre-test post-test experimental design was used to measure the effectiveness of Indian Folklore Animation using a questionnaire. The questionnaire consists of four scales of Keller’s ARCS Model of Motivation. A total of 108 pupils from three schools was selected as respondents and were assigned into two groups (treatment and control group) consisted of 54 pupils each. Data collected were analysed using descriptive and inference statistics to answer the listed research objectives. Findings show that there are significant differences in mean scores for pre-test and post-test to show that the Indian Folklore gave motivational effects to the pupils. This implies that Indian Folklore Animation could be developed for Indian Folklore appreciations and for fostering good moral values through animation.

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Rahmayanti, Wiga, Ahmad Hariandi, and Nopia Wati. "MORAL ANALYSIS IN THE ANIMATED FILMS OF NUSA RARA AND UPIN IPIN AS EDUCATIONAL SHOWS." AL-ISHLAH: Jurnal Pendidikan 12, no. 2 (December 30, 2020): 465–80. http://dx.doi.org/10.35445/alishlah.v12i2.220.

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This study aims to analyze and describe the moral values contained in the Nusa and Rara animations as well as the Upin and Ipin cartoons. This research is a qualitative descriptive research using a sample entitled from the animation film Nussa and Rara and the cartoon Upin Ipin with content analysis techniques. The data in this study contain religious and moral values contained in the animation of Nusa and Rara and Upin and Ipin cartoon. From this research, the results are religious and moral values in form of “adab” before going to bed, eating manners, saying “basmallah”, alms, keeping doing, doing good deeds, tolerance and help, not being arrogant, keeping words, praying on time, brotherhood, honesty, loving animals, respect, responsibility, justice, tolerance, self-discipline, caring for others, courage and democratization. The animation of Nussa Rara as well as the cartoon of Upin and Ipin are highly requested to be watched by children because it contains many religious and moral values in accordance with the national culture and Islam

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HALIM, Steven. "VisuAlgo – Visualising Data Structures and Algorithms Through Animation." OLYMPIADS IN INFORMATICS 9 (July 10, 2015): 243–45. http://dx.doi.org/10.15388/ioi.2015.20.

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Gu, Bon-Gwan, Chul-Hee Jung, Jae-Yun Lee, Sun-Young Cho, and Myeong-Won Lee. "A Facial Animation System Using 3D Scanned Data." KIPS Transactions:PartA 17A, no. 6 (December 31, 2010): 281–88. http://dx.doi.org/10.3745/kipsta.2010.17a.6.281.

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Jing Fu, Rukun Fan, and Weiran Chow. "MocapRender: Real Time Animation Generation from Mocap Data." International Journal of Digital Content Technology and its Applications 5, no. 8 (August 31, 2011): 179–87. http://dx.doi.org/10.4156/jdcta.vol5.issue8.20.

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Kim, Hyun-Jo, and Ge-Won Kim. "Component and Classification Method on 3d Animation Data." Journal of the Korea Contents Association 8, no. 12 (December 28, 2008): 118–30. http://dx.doi.org/10.5392/jkca.2008.8.12.118.

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Chul Hee Jung and 이명원. "A Motion Data Definition for Compatible Human Animation." Journal of the Korea Computer Graphics Society 14, no. 2 (June 2008): 35–41. http://dx.doi.org/10.15701/kcgs.2008.14.2.35.

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Pierson, Willard C., and Susan H. Rodger. "Web-based animation of data structures using JAWAA." ACM SIGCSE Bulletin 30, no. 1 (March 1998): 267–71. http://dx.doi.org/10.1145/274790.274310.

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Moltedo, Laura, and Serena Morigi. "ANIMA: An Interactive Tool for Scientific Data Animation." Computer Graphics Forum 12, no. 5 (December 1993): 277–88. http://dx.doi.org/10.1111/1467-8659.1250277.

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Journal articles on the topic 'Data Animation'

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