Статті в журналах: "Computer animation"

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

2

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.

3

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.

4

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.

5

Magnenat Thalmann, Nadia, and Daniel Thalmann. "Computer animation." ACM Computing Surveys 28, no. 1 (March 1996): 161–63. http://dx.doi.org/10.1145/234313.234381.

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6

Magnenat-Thalman, N., and D. Thalmann. "Computer animation." Visual Computer 1, no. 4 (December 1985): 207–8. http://dx.doi.org/10.1007/bf02021808.

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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

8

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.

9

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.

10

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.

11

Fujioka, Sadam. "drop." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (July 30, 2021): 1–8. http://dx.doi.org/10.1145/3465613.

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This paper describes an interactive art installation titled "drop." It is the first artwork using the Waterdrop Projection-Mapping (WPM) system, which animates levitating waterdrops. With this artwork, the anno lab team infuses physical characteristics into computer graphics and materializes them as tangible pixels. WPM consists of a waterdrop generator and an ultra high-speed projector. The team uses an ultra high-speed projector to cast stroboscopic spotlights mapping on waterdrops to create an optical illusion of animating each waterdrop individually. This is a new technique to show computer animation by animating levitating waterdrops. This technique explores a new horizon to create animations with tangible pixels that the viewer can touch physically.

12

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.

13

Zhang, Yang. "Computer Technology-Based Three-Dimensional Animation Production System Management." Journal of Physics: Conference Series 2146, no. 1 (January 1, 2022): 012018. http://dx.doi.org/10.1088/1742-6596/2146/1/012018.

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Abstract Animation is one of the most fascinating industries in recent years. Nowadays, the most popular three-dimensional animation creation design, three-dimensional animation creation is to rely on CG technology to simulate and realize through the powerful computing power of computers. As designers have higher and higher requirements for animation, the animation creation process has become more complicated, so the skill-based management of the 3D animation creation process will be a problem. This article will study the management of the 3D animation creation system based on computer technology. On the basis of the literature, the relevant theory of the 3D animation creation system is understood, and then the computer technology-based 3D animation creation management system is designed, and the designed system is tested. The test results show that the maximum concurrency of the system in this article The number is 400. After 400, the delay time and packet loss of the system start to rise.

14

Fei, Ma. "Computer Animation Process Research." Advanced Materials Research 926-930 (May 2014): 3018–21. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.3018.

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The article talks about the history of animation, focusing on the production of computer-assisted animation effects. Include key technologies of early modeling animation, motion control, distribution plan and other colors. Tracking the most advanced animation techniques and methods. Finally, introduce the application of the major animation techniques.

15

Elling, Jan Mathis, and Hein De Vries. "Influence of Animation- Versus Text-Based Delivery of a Web-Based Computer-Tailored Smoking Cessation Intervention on User Perceptions." European Journal of Health Communication 2, no. 3 (July 28, 2021): 1–23. http://dx.doi.org/10.47368/ejhc.2021.301.

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Computer-tailored (CT) digital health interventions have shown to be effective in obtaining behaviour change. Yet, user perceptions of these interventions are often unsatisfactory. Traditional CT interventions rely mostly on text-based feedback messages. A way of presenting feedback messages in a more engaging manner may be the use of narrated animations instead of text. The goal of this study was to assess the effect of manipulating the mode of delivery (animation vs. text) in a smoking cessation intervention on user perceptions among smokers and non-smokers. Smokers and non-smokers (N = 181) were randomized into either the animation or text condition. Participants in the animation condition assessed the intervention as more effective (ηp2 = .035), more trustworthy (ηp2 = .048), more enjoyable (ηp2 = .022), more aesthetic (ηp2 = .233), and more engaging (ηp2 = .043) compared to participants in the text condition. Participants that received animations compared to text messages also reported to actively trust the intervention more (ηp2 = .039) and graded the intervention better (ηp2 = .056). These findings suggest that animation-based interventions are superior to text-based interventions with respect to user perceptions.

16

Popkonstantinovic, Branislav, Ivica Nikolic, Ana Perisic, and Igor Kekeljevic. "Fly-Through animation at the Faculty of Technical Sciences in Novi Sad." Facta universitatis - series: Architecture and Civil Engineering 9, no. 2 (2011): 277–87. http://dx.doi.org/10.2298/fuace1102277p.

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This article describes application of Fly-Through animation, especially in architecture. It shows application of this animation technique on Computer Graphics - Animation in Engineering studies and on Architecture and Urban Planning studies at the Faculty of Technical Sciences in Novi Sad. Three historically significant buildings have been modeled and animated: Gymnasium Jovan Jovanovic Zmaj, Department of Architecture and Urban Planning and a City Hall in Novi Sad. Development process of these models and animations is described in details, step by step.

17

Liu, Kai, Qinghan Yang, Yuhao Lu, Taoyu Zhang, and Shuo Chen. "Research on the Computer Case Design of 3D Human Animation Visual Experience." Wireless Communications and Mobile Computing 2021 (November 3, 2021): 1–7. http://dx.doi.org/10.1155/2021/8809036.

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In the animation industry, with the development of computer software and hardware technology, a new technology began to emerge, that is, three-dimensional animation. Three-dimensional animation software first creates a virtual world in the computer. In this virtual three-dimensional world, the designer builds the model and scene according to the shape and size of the object to be represented and then sets the motion trajectory of the model, the motion of the virtual camera, and the scene according to the requirements. When setting other animation parameters, we need to assign specific materials to the model and turn on lights. When all this is completed, the computer can automatically calculate and generate the final picture. The software Maya can just help animators to complete this work. When using Maya, we can apply many professional courses such as action design, scene design, and storyboarding script design that we have learned. Maya is a 3D software with convenient operability. It can combine the rendered sequence frames with AE to show unique animations. Therefore, the three-dimensional production method is preferred in the production method. The production of animation based on the 3D software Maya brings infinite challenges. At the same time, it also helps everyone grow and has a good position for our employment direction.

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Avila-Munoz, Raquel, Jorge Clemente-Mediavilla, and Perez-Luque Perez-Luque. "Communicative Functions in Human-Computer Interface Design: A Taxonomy of Functional Animation." Review of Communication Research 9 (2021): 119–46. http://dx.doi.org/10.12840/issn.2255-4165.030.

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Whenever a user performs a task or communicates via their computer or device, they are guided by visual cues to interact successfully with the interface. This human-computer interaction is, therefore, mediated by the communication established between designer and user through the texts, graphic elements, and animations that make up the visual design of the interface. Animation is an element of visual language of the graphical elements of an interface. This study aims to establish the functions of animation. We reviewed the literature and discussed the shortcomings identified in the existing taxonomies of functional animation. We then proposed an updated classification, partly inspired by the functions presented in Jakobson’s communication model. Based on a content analysis of the design guidelines from the leading mobile phone developers and comparing these sources, we propose the following list of categories: Identifying, Structural, Guide, Feedback, Didactic, Esthetic, and Emotive. This new taxonomy aims to contribute to the theoretical frameworks used in visual communication when studying interface design. It will be useful, for example, to help detect, classify, and assess the appropriateness of animations based on the functions they provide to an interface.

19

Sun, Qiyun, Wanggen Wan, Xiang Feng, and Guoliang Chen. "A Novel Animation Method Based on Mesh Decimation." Journal of Advanced Computational Intelligence and Intelligent Informatics 22, no. 2 (March 20, 2018): 184–93. http://dx.doi.org/10.20965/jaciii.2018.p0184.

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Skeleton based skin deformation methods are widely used in computer animations, with the help of some animation software, like 3D Studio Max and Maya. Most of these animation methods are based on linear blending skinning algorithm and its improved versions, showing good real-time performance. However, it is difficult for new users to use these complicated softwares to make animation. In this paper, we focus on surface based mesh deformation methods. We use spokes and rims deformation method to animate mesh models. However, this method shows poor real-time performance with high-resolution mesh models. We propose a novel animation method based on mesh decimation, making it possible to animate high-resolution mesh models in real time with the spokes and rims method. In this way, users only need to control the movement of handles to acquire intuitively reasonable animation of arbitrary mesh model. It is easier and more convenient for users to make their own animation. The experimental results show that the proposed animation method is feasible and effective and shows great real-time performance.

20

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.

21

DeMetz, Brian A., and Fred C. DeMetz. "Computer animation of sound." Journal of the Acoustical Society of America 100, no. 4 (October 1996): 2700. http://dx.doi.org/10.1121/1.417080.

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Rosenbloom, Andrew. "Physically based computer animation." Communications of the ACM 43, no. 7 (July 2000): 30–32. http://dx.doi.org/10.1145/341852.341860.

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23

Thalmann, N. Magnenat, and D. Thalmann. "Computer graphics and animation." Computer Physics Reports 11, no. 1-6 (November 1989): 221–91. http://dx.doi.org/10.1016/0167-7977(89)90024-5.

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Lopes, Pedro Faria, and Mário Rui Gomes. "Computer animation in Portugal." Computers & Graphics 13, no. 3 (January 1989): 381–87. http://dx.doi.org/10.1016/0097-8493(89)90089-7.

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Max, Nelson. "Computer animation of photosynthesis." Journal of Molecular Graphics 10, no. 1 (March 1992): 40–41. http://dx.doi.org/10.1016/0263-7855(92)80017-8.

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26

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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Mohd Suki, Norbayah, Norazah Mohd Suki, Mohamed Mustafa Ishak, Rosliza Ahmad, and Kamal Bahrin Sudin. "Discovering the Global Landscape of 3D Animation: A Bibliometric Analysis." International Journal of Interactive Mobile Technologies (iJIM) 16, no. 09 (May 10, 2022): 41–54. http://dx.doi.org/10.3991/ijim.v16i09.30371.

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The purpose of this study is to conduct a bibliometric analysis of publications on 3D animation in the Scopus database. Microsoft Excel, VOSviewer for data visualisation, and Harzing's Publish or Perish for citation metrics and analysis were employed to conduct the bibliometric analysis. Data were analysed among a sample of 305 publications on 3D animation published between 1984 and 2021 available in the Scopus database. The bibliometric analysis reveals that the number of publications on 3D animation research has been constantly increasing since 2002. In 2020, the total number of documents published in 3D animation reached 29 articles. China was named the most active country in the field of 3D animation. A total of 888 researchers from 43 different countries and 31 different institutions published 3D animations in multiple languages, including multi-author collaboration. Computer Science and Engineering are the two disciplines that are most prominently represented in the study of 3D animation. The most active institutions that published key publications linked to 3D animation research were Universitas Diponegoro and the University of Sharjah. This research is unique and significant to contribute to advancing the body of knowledge on 3D animation to add value to the complexities of scientific narratives. Future research direction is also furnished.

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Jin, Hu, and Rong Zheng. "Computer Modeling of Visual Model of Animation Color Information Based on Augmented Reality Technology." Mobile Information Systems 2022 (April 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/5722302.

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With the rapid development of computers, its application fields have also begun to spread to all walks of life, and the modeling of information visualization models for animation colors has also begun to spread. This paper was aimed at studying the computer modeling of the visual model of animation color information. To this end, this article proposes an optimization of the collection of animation colors based on augmented reality technology and image recognition technology to make the collected data more accurate. It provides accurate color information to the computer, making the color information of animation more visible. To this end, experiments and analysis are also designed to conduct a comprehensive analysis and performance exploration. The experimental results in this paper show that the improved visualization of the animation color information visualization model has increased by 27.4%, which effectively solves the current problems faced by computer modeling.

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Zhang, Xiao, Jinhua Xu, and Wei Yang. "Application and Practice of 2D Animation in Chinese Traditional Elements Based on Deep Learning Model." Mobile Information Systems 2022 (August 24, 2022): 1–10. http://dx.doi.org/10.1155/2022/6453320.

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With the progress and development of science and technology, the development of the animation industry is also rapidly accelerating. The animation industry has an inseparable relationship with the development of computers. Chinese animation originated in the 1920s. Although after so many years of precipitation, there have been some excellent animation works rich in national characteristics and national culture in China, but Chinese animation still lacks professional talents and has a poor creative environment. The problem cannot leave a deep impact on people. China has a long history. How to perfectly combine traditional Chinese elements with animation production and develop our own national characteristics through animation is a problem we have to consider. The article introduces the background of animation development, describes how to combine traditional Chinese elements with animation production, and solves the problems of rough picture quality and high collision rate in animation production. The research results of the article show the following: (1) the detail roughness of the 7 traditional element animation scenes of the 2D animation system proposed in the article has been kept below 2%, and the image quality clarity is higher than 99%, which is the performance of the 3 systems. The highest one can also show that the system proposed in the article has the best control effect for different animation scene details. The 2D animation system proposed in the article presents a steady trend of fluctuations in the dynamic light and shadow of the scene details of the 7 traditional element animations, with good detail connectivity, and the system proposed in the article occupies the least memory and has the highest stability. (2) The waiting time of the 2D animation system is the lowest among the three systems. Only in a few cases, it needs to wait for 1 s, and the rest of the animation scenes are not delayed. The dynamic animation interaction system and the real-time character animation system have poor real-time operation , and there is a certain delay. The number of collisions of the 2D animation system is the least, almost negligible. Both the dynamic animation interaction system and the real-time character animation system have a certain degree of collision. The distortion rate of the 2D animation system is generally low and will not increase with the number of experiments. However, the other two systems have higher animation distortion rates, which cannot meet the needs of animation production.

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Sun, Zhen Tao. "Animation Type Analysis after Using Computer 3D Animation Technology." Advanced Materials Research 971-973 (June 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.

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Type of computer animation using 3D technology can be divided under three seeds that mimic 2D animation, imitating traditional 3D animation, imitating real movie. Mimic 2D animation and imitating real movie are infinitely close with 2D animation and real film movie. Imitating traditional 3D animation is completely different from the traditional three-dimensional animation, which won the visual realism. "Visual realism" to get that 3D animation and real film movie stood on the same competition platform.

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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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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.

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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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Liu, Yingjing. "Research on Computer Animation Action and Acceleration Technology based on Composition Editor." Journal of Physics: Conference Series 2023, no. 1 (September 1, 2021): 012026. http://dx.doi.org/10.1088/1742-6596/2023/1/012026.

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Abstract Traditional animation needs complex animation technology, which is mainly operated by hand. Therefore, traditional animation production needs a lot of work, which will lead to a variety of problems, such as long cycle, high rework rate, high cost and so on. With the development of computer technology, great changes have taken place in animation production, including speed, effect, etc., which has created a variety of methods in two-dimensional and three-dimensional animation production. Through computer-aided, the traditional manual animation technology has been gradually replaced by computer, which has become a key issue in animation art production. By combining the advantages of manual animation and computer animation, we can continuously improve the ability of animation industry. Through the synthesis editor, we can improve the animation action and accelerate technology research, which can achieve a new animation world. First of all, this paper analyzes the commonly used 3D animation production software. Then, this paper analyzes the animation action and acceleration technology.

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Lasseter, John. "Principles of traditional animation applied to 3D computer animation." ACM SIGGRAPH Computer Graphics 21, no. 4 (August 1987): 35–44. http://dx.doi.org/10.1145/37402.37407.

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Zhao, Licheng, and Kaixin Zhang. "Application of a Random Forest Algorithm in Natural Landscape Animation Design." Computational Intelligence and Neuroscience 2022 (May 25, 2022): 1–9. http://dx.doi.org/10.1155/2022/2820558.

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Natural landscape simulation is one of the most popular research contents in computer graphics in the field of research simulation system. The natural landscape animation scene can immerse viewers in the scene, and it is widely used in visual simulation systems. Simulating natural scenery on a computer is a powerful method for studying the rules of the scenery's growth process as well as the mystery of life. The simulation of natural scenery is of particular importance and has far-reaching implications. The most important aspect of optimizing natural landscape design is creating a natural landscape animation that users enjoy. This article proposes a natural landscape animation design method with a self-learning function based on this concept. The random forest model (RF) is introduced in this method and applied to the entire animation design process. RF can generate a learning model with user evaluation as the classification result to guide the automatic design of natural landscape animation, resulting in user-satisfying animations. Simultaneously, the RF-based natural landscape animation design can continuously update the learning model based on user needs and is self-learning. The experimental part of this article verifies the effectiveness of the natural landscape animation design proposed in this article by comparing the selection rate of user satisfaction and dissatisfaction scenes, and further demonstrates that the method in this article can improve the natural landscape. The market application value of user satisfaction generated by animation is high.

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Farahmand, Kambiz, Satpal Singh Wadhwa, and Mahmoud Mostafa. "INTEGRATING ANIMATION INTO TEACHING COMPUTER SIMULATION." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION METHODOLOGY 7, no. 3 (August 30, 2016): 1176–81. http://dx.doi.org/10.24297/ijrem.v7i3.3827.

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Computer simulation is an experiment using a computer model to represent a unique system.Â Variables are defined and parameters to be study are monitored and recorded. Growing caÂpabilities and decreasing costs of microcomputers are placing this powerful tool at the fingertips of scientists and engineers. In the past, the use of digital computers in simulation required a considerable amount of programming effort. This is no longer a true statement.Â Simulation provides the student with a greater breadth and depth of information on which decisions could be made. It is also considered one of the most valuable and flexible decision making tools available. Flexible simulation and animation models developed using a multitude of softwareâ€™s available in the market today is considered a very powerful and effective approach in engineering education. Simulation and animation models could easily be used to solve complex and dynamic problems in both the classroom and real life.Computer simulation techniques and soft wares have been used for more than a decade to help engineers in development, trouble shooting, problem solving, and decision making process. The new paradigm in computer simulation is the use of animation and virtual reality to build engineering models and animation, simulate operations and performance. The fantastic progress in computer hardware and software industry has now opened a new and higher level of teaching computer simulation.

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AKANKSHA, Z. HUANG, B. PRABHAKARAN, and C. R. RUIZ. "VISUALIZING ANIMATION DATABASES." International Journal of Software Engineering and Knowledge Engineering 13, no. 01 (February 2003): 1–25. http://dx.doi.org/10.1142/s0218194003001214.

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We consider a repository of animation models and motions that can be reused to generate new animation sequences. For instance, a user can retrieve an animation of a dog kicking its leg (in air) and manipulate the result to generate a new animation where the dog is kicking a ball. In this particular example, inverse kinematics technique can be used to retarget the kicking motion of a dog to a ball. This approach of reusing models and motions to generate new animation sequences can be facilitated by operations such as querying of animation databases for required models and motions, and manipulation of the query results to meet new constraints. However, manipulation operations such as motion retargeting are quite complex in nature. Hence, there is a need for visualizing the queries on animation databases as well as the manipulation operations on the query results. In this paper, we propose a visually interactive method for reusing motions and models, by adjusting the query results from animation databases for new situations while at the same time, keeping the desired properties of the original models and motions. Here, a user first queries for animation objects, i.e., geometric models and motions. Then, the user interactively makes new animations by visually manipulating the query results. Depending on the orders in which the GUIs (Graphical User Interfaces) are invoked and the parameters are changed, the system automatically generates a sequence of operations, a list of SQL-like syntax commands, and applies it to the query results of motions and models. With the help of visualization tools, the user can view the changes before accepting them.

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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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Gao, Xin Rui. "Research of Efficiency of Computer 3D Animation." Applied Mechanics and Materials 421 (September 2013): 672–75. http://dx.doi.org/10.4028/www.scientific.net/amm.421.672.

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3D animation is an application of computer graphics. The factors that affect the efficiency of 3D animation include animation algorithms, 3D models, materials and textures, rendering, and LOD (level of detail). This thesis discusses these technologies separately. By using these technologies properly, we could reduce the complexity of algorithms and the overall data quantity and then enhance the efficiency of 3D animation.

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Ebert, David S., and Dan Bailey. "A Collaborative and Interdisciplinary Computer Animation Course." Leonardo 35, no. 1 (February 2002): 83–86. http://dx.doi.org/10.1162/002409402753689371.

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Animation has always required a close collaboration between artists and scientists, poets and engineers. Current trends in computer animation have made successful and effective teamwork a necessity. To address these issues, the authors have developed an interdisciplinary computer animation course for artists and scientists, in which student teams produce a professional animation that extends the capabilities of a commercial animation package. A key component of this course is the use of collaborative teams that provide practical experience and cross-mixing of student exper-tise. Another key component is group-based education: the students learn from each other, as well as from the instructors.

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Arumugam, Nalini, Puspalata C. Suppiah, Mohammad Radzi Manap, and Julina Munchar. "Use of Animation in Classrooms at Higher Learning Institutions: Student Perception." Global Academic Journal of Linguistics and Literature 4, no. 4 (August 24, 2022): 111–18. http://dx.doi.org/10.36348/gajll.2022.v04i04.006.

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The integration of animation in higher learning institutions' teaching and learning process has become apparent as contemporary instructional materials are paramount to ensuring quality education. The current study aims to identify the students' perceptions of Animation in their learning environment in higher learning institutions in Malaysia. The researchers administered an online survey via Google form to a total of 275 undergraduates. Data elicited from the respondents were analyzed using a quantitative research approach. The findings indicated that most of the undergraduates had shown interest in using Animation in their classroom teaching and learning activities due to its effectiveness in facilitating learning. They found animations to be an efficient way to deliver and disseminate information, thus making their education more stimulating besides enhancing their knowledge of computer skills. The respondents further indicated that animation helped them understand a complex concept easily and made their presentations more appealing. Conversely, it was time-consuming for students to create the simplest animation. Besides, too much Animation on the page can be distracting. This study concludes with an overall discussion and recommendations for further study.

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Holliday, Mark A. "Animation of computer networking concepts." Journal on Educational Resources in Computing 3, no. 2 (June 2003): 2. http://dx.doi.org/10.1145/982753.982755.

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Terzopoulos, Demetri. "Visual modeling for computer animation." ACM SIGGRAPH Computer Graphics 33, no. 4 (November 4, 1999): 42–45. http://dx.doi.org/10.1145/345370.345400.

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Larboulette, Caroline, and François Faure. "Symposium on Computer Animation 2010." Computer Graphics Forum 30, no. 6 (September 2011): 1867. http://dx.doi.org/10.1111/j.1467-8659.2011.01997.x.

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Björk-Willén, Polly, and Karin Aronsson. "Preschoolers’ “Animation” of Computer Games." Mind, Culture, and Activity 21, no. 4 (October 2, 2014): 318–36. http://dx.doi.org/10.1080/10749039.2014.952314.

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46

Graber, Jeffrey, Kevin Lefebvre, Michael Sciulli, Donald Leich, Milan Novacek, David Ross, David Zeltzer, and David Sturman. "Developing computer animation packages (panel)." ACM SIGCHI Bulletin 17, SI (May 1986): 193–96. http://dx.doi.org/10.1145/30851.275629.

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Sturman, David. "The state of computer animation." ACM SIGGRAPH Computer Graphics 32, no. 1 (February 1998): 57–61. http://dx.doi.org/10.1145/279389.279467.

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Foster, Nick, and Dimitris Metaxas. "Modeling water for computer animation." Communications of the ACM 43, no. 7 (July 2000): 60–67. http://dx.doi.org/10.1145/341852.341864.

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Waly, Sherif M., and Frederick E. Sistler. "Ergonomic design using computer animation." Computers & Industrial Engineering 37, no. 1-2 (October 1999): 293–96. http://dx.doi.org/10.1016/s0360-8352(99)00077-7.

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Abel, Robert, Jim Blinn, Carl Rosendahl, and Craig Upson. "Four paths to computer animation." ACM SIGGRAPH Computer Graphics 22, no. 4 (August 1988): 347. http://dx.doi.org/10.1145/378456.378547.

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