Relevant bibliographies by topics / Animated image

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animated image'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Animated image"

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Yfantis, Evangelos A. "Efficient image compression algorithm for computer-animated images." Journal of Electronic Imaging 1, no. 4 (1992): 381. http://dx.doi.org/10.1117/12.59970.

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Kendall, Laurel, and Jongsung Yang. "What is an animated image?" HAU: Journal of Ethnographic Theory 5, no. 2 (2015): 153–75. http://dx.doi.org/10.14318/hau5.2.011.

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Rowe, Rebecca. "Shaping Girls: Analyzing Animated Female Body Shapes." Animation 14, no. 1 (2019): 22–36. http://dx.doi.org/10.1177/1746847719829871.

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The debate over whether television and film affect girls’ body image has been contentious. Researchers argue that film and television negatively affect, only partially affect, or do not affect girls’ body image. These studies have one common limitation: they approach animated female bodies as if they are the same because they are, mostly, thin. In this project, the author seeks to extend and complicate this existing scholarship by analyzing bodies in 67 films produced by several American animation studios from 1989 through 2016. In this study, she classifies 239 female characters as one of four body types: Hourglass, Pear, Rectangle, or Inverted Triangle. Her argument is two-fold: (1) over the last 30 years, there has been a shift from a singular dominant shape (Hourglass) to the dominance of several body shapes (especially Pear and Rectangle); and (2) young girls may be affected by characters their own age who have been largely ignored in studies thus far. The author argues that young girls see diverse images of bodies rather than the singular image that scholars study. Girls’ body image may be affected by animation, but animated images are so diverse that this effect may be difficult to determine. A more nuanced understanding of the body shapes animation utilizes may allow researchers to study the more complex messages that girls do or do not internalize.
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Indraswari, Erika Dignitya. "Kiat Belajar Sistem Gerak Karakter Animasi." Humaniora 3, no. 2 (2012): 549. http://dx.doi.org/10.21512/humaniora.v3i2.3398.

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Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should have a reason to show the personality of the characters in order to complete the story supports. In addition to the nature of the characters, an animator also needs to know the situation in a scene. Many animators use animation principles that have been developed by Walt Disney Studios, USA, to improve their animated creations. Yet, many animators also develop their animated creations using principles that have been developed in Japan. However, the discussion in this paper is the animation using the principles developed in the United States.
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CAI, HUAN, and LEQUAN MIN. "A KIND OF TWO-INPUT CNN WITH APPLICATION." International Journal of Bifurcation and Chaos 15, no. 12 (2005): 4007–11. http://dx.doi.org/10.1142/s021812740501443x.

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This paper presents a kind of two-input Cellular Neural Network (CNN). This kind of CNN has three templates: A-template, B-template and C-template. The B-template and C-template are in charge of coupling two input images to be processed by the CNN equation. It is expected the new CNN may be used to process simultaneously two images. As an application of the CNN, a background replacement (BR) CNN is introduced. The BR CNN can replace the light colored background of a RBG image by another color image. Two computer simulation examples show that the BR CNN image processing can display animated drawing effects, and animated cartoons.
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Leon, Lucien. "The animated moving image as political cartoon." Comedy Studies 9, no. 1 (2018): 94–113. http://dx.doi.org/10.1080/2040610x.2018.1428424.

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Schmida, Milton J., Harry J. Peterson, and Anne Marie Tharpe. "Visual Reinforcement Audiometry Using Digital Video Disc and Conventional Reinforcers." American Journal of Audiology 12, no. 1 (2003): 35–40. http://dx.doi.org/10.1044/1059-0889(2003/008).

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Visual reinforcement audiometry (VRA) is a test procedure routinely used to evaluate hearing in infants and young children (6 months to 2 years). Most research and current clinical practice uses flashing lights and/or animated toys to provide reinforcement to a child during VRA. New technology capable of generating a moving video image is now available for providing visual reinforcement to infants during VRA testing. It is reasonable to expect that video images, with presumed greater novelty and complexity, would be more interesting and rewarding to children than conventional, animated mechanical toy reinforcers. On the other hand, in today’s society, children are frequently exposed to video images in the home and elsewhere. Therefore, three-dimensional animated toys may present with greater novelty than video images. The purpose of this study was to compare auditory localization behavior, as defined by the number of head turn responses until habituation, during VRA with 2-year-old children using two types of reinforcers: (a) moving images generated by a digital video disc player/monitor and (b) a conventional, animated mechanical toy. Twenty children were selected randomly from a total group of 40 and tested using conventional reinforcement. The remaining 20 children were tested using video reinforcement. The average number of head turn responses prior to habituation was approximately 15 for the video-reinforced group and approximately 11 for the conventional toy-reinforced group, suggesting that during VRA a video image may be more reinforcing than a conventional animated toy.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.

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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Karlamova, E. "Archetypical Bases of Russian Patriotic Animated Content." Scientific Research and Development. Modern Communication Studies 9, no. 6 (2020): 23–26. http://dx.doi.org/10.12737/2587-9103-2020-23-26.

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The archetypal foundations of the image of the Russian animation hero are analyzed at the article. The epic and fairy-tale features of the character are designated, the features inherent in the image are formulated, dating back to both Western mass culture and domestic Soviet animated content.
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Ou, Yu-Chih, Hsin-Yu Wu, Chia-Hsun Hsu, Yeu-Long Jiang, and Shui-Yang Lien. "Design and Production of Animated Image Photovoltaic Modules." Energies 10, no. 11 (2017): 1712. http://dx.doi.org/10.3390/en10111712.

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Dissertations / Theses on the topic "Animated image"

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Pahnke, Cornelia. "Animated systems engineering : a new approach to high quality groupware application specification and development." Thesis, University of Wolverhampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275282.

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Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.

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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
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Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.

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Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.<br>The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.
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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.

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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du temps<br>Multiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time
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Velho, Luiz. "SCRIPTS : on the description of computer animated images." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78061.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (leaves 65-70).<br>The problem of specification of temporal transformations for Computer Animation production is investigated. Based on this analysis, an interactive animation language is developed which supports both procedural and key-frame animation. It is a flexible software environment for the design and prototyping of animation programs and interfaces. The language is implemented in C within the UNIX operating system, and consists of C-like expressions, built-in functions, script and track constructs. There is also an escape mechanism to run UNIX commands. C-like expressions are the regular arithmetical, logical and control of flow operations. Built-in functions are C functions incorporated in the language. Scripts are time programs that are executed in parallel to generate animation. Tracks are time variables used to define dynamic animation parameters. A small set of animation tools is also developed to exemplify the system's utilization. These include a three dimensional geometry model interface library, a spline library, and simple mechanics, collision detection and inverse kinematics functions.<br>by Luiz Velho.<br>M.S.V.S.
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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.

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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent<br>As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want
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Mouli, Richard. "Un modèle d'animation comportementale fondé sur le concept de personnage." Toulouse 3, 1994. http://www.theses.fr/1994TOU30192.

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Le but de l'animation en synthese d'images est de definir des concepts et des outils pour permettre a l'utilisateur de produire des sequences animees. Les travaux que nous presentons s'inscrivent dans le domaine de la problematique liee a la definition des mouvements des objets mis en scene. L'etude que nous avons realisee porte sur un modele de haut niveau. Les objectifs qui ont guides cette recherche sont la conception et la realisation d'un systeme capable d'animer un nombre important d'objets et de prendre en compte les interactions qu'ils subissent. Nous introduisons pour cela le concept de personnage auquel nous associons un comportement. Un personnage est un objet autonome, actif dont l'evolution dans le temps est le produit de l'evaluation de son comportement en fonction de la connaissance qu'il possede sur son environnement local. Nous decomposons l'ensemble des personnages en trois sous-classes (les personnages acomportementaux, reflexes et intelligents) selon le niveau de comportement qui leur est associe. Les personnages peuvent n'etre soumis seulement aux lois de la physique, reagir automatiquement a des situations simples ou utiliser un raisonnement, fonde sur des regles et un moteur d'inference (comme en prolog) pour analyser la situation dans laquelle ils se trouvent pour decider des actions a realiser. Dans les deux derniers cas, ils utilisent un ensemble de capteurs qui leur permettent d'acquerir des informations sur l'environnement et de determiner la situation presente. Nous introduisons le concept de capteur bati sur un mecanisme actif d'interrogation. Nous presentons aussi des solutions dans le domaine de la coherence d'animation. Plus particulierement, nous introduisons une nouvelle approche pour l'echantillonnage de la dimension temporelle. Grace au systeme realise en langage eiffel sur stations de travail unix dans le cadre de cette these, nous avons produit les sequences animees
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Webb, Ian Andrew. "An extension to optic flow analysis for the generation of computer animated images." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/12526.

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Bibliography: leaves 148-151.<br>This dissertation seeks to develop image based animation methods using the technique of optic flow analysis developed for a moving planar object. Image based rendering is presented as a class of algorithm using two dimensional shortcuts to the problem of three dimensional animation. The optic flow field is used to develop an image based algorithm based on its use as a description of the diffences between consecutive frames of an animation. A Taylor analysis of the optic flow field is the underlying tool used, breaking the field up into a hierarchy of terms. For a moving planar object, we have considerably simplified the second order Taylor terms into a basis of just two independent terms, which can be related closely to a perspective transformation between frames. Perspective transformations capture exactly the optic flow of a moving planar object. Using the simplified decomposition of the flow field for a moving plane, we decompose the frame to frame transformation into a hierarchy of terms of increasing accuracy and cost. Depending on their accuracy we may choose any of these as transformation on an image between frames, instead of rerendering. The errors in the approximation can be tracked via the Taylor series. This dissertation develops the theory and presents an animation algorithm based on optic flow, and then presents the results of various tests of the algorithm in a variety of simple scenes. The results demonstrate the effectiveness of the algorithm and the time saving achieved in animation.
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.

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Gao, Huaiying. "The Effects of Still Images and Animated Images on Motion-Related and Non-Motion Related Learning Tasks in College Students of Different Levels of Field Dependence." Diss., Virginia Tech, 2005. http://hdl.handle.net/10919/27130.

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The use of still images in instruction has a long history in the field of education. With the widespread use of microcomputers and the development of graphic software, the ability to create and use animated images has greatly increased; today many people use animated images in their teaching and training activities. Since the use of different types of images in instruction has various influences on studentsâ learning results, the different effects between animated images and still images have been studied widely among researchers. However, the research results are not consistent. Some research results show that animated images are more effective than still images and some show no difference or less effective results. This experimental study explores the effects of animated images and still images on college studentsâ learning of motion-related tasks and non-motion related tasks, with the students possessing different levels of field dependence-independence. This study found that: For learning tasks involving motion and/or change, animated images were more effective than still images for college students, and field dependent students benefited more from animated images than did the field independent students. However, for learning tasks that did not involve motion or change, there was no difference in learning results from the use of still images as opposed to animated images. In addition, for such learning tasks, there was no difference in the learning benefits of still images to field dependent versus field independent learners.<br>Ph. D.
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Books on the topic "Animated image"

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3D and animated lenticular photography: Between Utopia and entertainment. Walter De Gruyter GmbH, 2015.

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Obraz, czas, myśl: O widzeniu w animacji filmowej. Uniwersytet Opolski, 2007.

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Art, agency and living presence: From the animated image to the excessive object. De Gruyter, 2015.

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Glassman, Marc. Paul Driessen: Beelden en bespiegelingen = images et réflexions = images and reflexions. Holland Animation Film Festival, 2002.

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Bilder animierter Bewegung: Images of animate movement. Wilhelm Fink, 2013.

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Sampson, Henry T. That's enough, folks: Black images in animated cartoons, 1900-1960. Scarecrow Press, 1998.

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Muybridge, Eadweard. The human figure in motion: A source book of sequential action images by a master photographer. Bonanza Books, 1989.

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Muybridge, Eadweard. The human figure in motion: A source book of sequential action images by a master photographer. Bonanza Books, 1989.

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Christian, Balkenius, Hallam John, and SpringerLink (Online service), eds. From Animals to Animats 12: 12th International Conference on Simulation of Adaptive Behavior, SAB 2012, Odense, Denmark, August 27-30, 2012. Proceedings. Springer Berlin Heidelberg, 2012.

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Ethier, Stephen J. Autodesk VIZ 2008 fundamentals. Pearson/Prentice Hall, 2008.

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Book chapters on the topic "Animated image"

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Jordan, Lucas L. "Effect: Animated Image Sequences." In JavaFX™ Special Effects. Apress, 2009. http://dx.doi.org/10.1007/978-1-4302-2624-6_7.

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Laurence, Hotessa. "Ante-Narrative and the Animated Time Image." In Reimagining Communication: Mediation. Routledge, 2020. http://dx.doi.org/10.4324/9781351015431-6.

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Chen, Ting-Yen, and Reinhard Klette. "Animated Non-photorealistic Rendering in Multiple Styles." In Image and Video Technology – PSIVT 2013 Workshops. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-53926-8_2.

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Huang, Fay, Chih-Kai Chang, and Zi-Xuan Lin. "Generation of Animated Stereo Panoramic Images for Image-Based Virtual Reality Systems." In Image and Video Technology. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-53842-1_41.

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Fu, Qiang. "Realization of “Animated Image Processing” Open Teaching Platform." In Lecture Notes in Electrical Engineering. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5959-4_184.

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Leon, Lucien. "The animated moving image as political cartoon (9:1)." In The Routledge Comedy Studies Reader. Routledge, 2019. http://dx.doi.org/10.4324/9780429057526-37.

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Nimeroff, Jeffry. "A Temporal Image-Based Approach to Motion Reconstruction for Globally Illuminated Animated Environments." In Eurographics. Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-7484-5_18.

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Aronoff, Janee, Francine Spiegel, and Pete Walsh. "Images for Rollovers, Web Page Backgrounds, and Animated GIFs." In Photoshop Elements 2 Most Wanted. Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5119-4_11.

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Chang, Yu-Han, Paul R. Cohen, Clayton T. Morrison, Robert St Amant, and Carole Beal. "Piagetian Adaptation Meets Image Schemas: The Jean System." In From Animals to Animats 9. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11840541_31.

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Wilhelms, Jane P., and Brian A. Barsky. "Using Dynamic Analysis to Animate Articulated Bodies such as Humans and Robots." In Computer-Generated Images. Springer Japan, 1985. http://dx.doi.org/10.1007/978-4-431-68033-8_19.

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Conference papers on the topic "Animated image"

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Andrews, John R., and Michael D. Rainsdon. "Image processing for animated holograms." In EI 92, edited by Stephen A. Benton. SPIE, 1992. http://dx.doi.org/10.1117/12.59626.

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Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

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KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

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Sakurai, Jun, Tomokazu Ishikawa, Yusuke Kameda, Ichiro Matsuda, and Susumu Itoh. "Discrimination of drawing collapse for animated characters by SVM." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521523.

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Xu, Guang-you, Hui Zhang, and Qiang Wang. "Animated face modeling and adaptation with triangular B-spline." In Multispectral Image Processing and Pattern Recognition, edited by Yair Censor and Mingyue Ding. SPIE, 2001. http://dx.doi.org/10.1117/12.441572.

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Huang, Fay, Kun-Ming Yang, Zhang-Jun Wei, Augustine Tsai, and Jui-Yang Tsai. "Animated panorama from a panning video sequence." In 2010 25th International Conference of Image and Vision Computing New Zealand (IVCNZ). IEEE, 2010. http://dx.doi.org/10.1109/ivcnz.2010.6148822.

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Yang, Kun-Ming, Fay Huang, and Sih-Huei Lin. "Generation of animated panorama from single video sequence." In 2010 3rd International Congress on Image and Signal Processing (CISP). IEEE, 2010. http://dx.doi.org/10.1109/cisp.2010.5647065.

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Bici, M. Oguz, and Gozde B. Akar. "Improved prediction for layered predictive animated mesh compression." In 2010 17th IEEE International Conference on Image Processing (ICIP 2010). IEEE, 2010. http://dx.doi.org/10.1109/icip.2010.5652143.

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Giudice, Oliver, Dario Allegra, Francesco Guarnera, Filippo Stanco, and Sebastiano Battiato. "Animated Gif Optimization By Adaptive Color Local Table Management." In 2020 IEEE International Conference on Image Processing (ICIP). IEEE, 2020. http://dx.doi.org/10.1109/icip40778.2020.9190967.

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Marki, Nicolas, Oliver Wang, Markus Gross, and Aljosa Smolic. "ColorBrush: Animated diffusion for intuitive colorization simulating water painting." In 2014 IEEE International Conference on Image Processing (ICIP). IEEE, 2014. http://dx.doi.org/10.1109/icip.2014.7025943.

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