Relevant bibliographies by topics / Animated sequences

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

Academic literature on the topic 'Animated sequences'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Animated sequences"

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Berkel, Pierre. "SIAS, Strokes Interpreted Animated Sequences." Computer Graphics Forum 8, no. 1 (1989): 35–47. http://dx.doi.org/10.1111/j.1467-8659.1989.tb00451.x.

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Seifi, Hasti, Steve DiPaola, and Ali Arya. "Expressive Animated Character Sequences Using Knowledge-Based Painterly Rendering." International Journal of Computer Games Technology 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/164949.

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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based painterly rendering system. Furthermore, we present the results of a preliminary study on using this technique for facial expressions in still images. The results of the study show the effect of different color palettes on the intensity perceived for an emotion by users. The proposed technique can provide the animator with a depiction tool to enhance the emotional content of a character sequence in games and animations.
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Layher, Georg, Martin A. Giese, and Heiko Neumann. "Learning Representations of Animated Motion Sequences-A Neural Model." Topics in Cognitive Science 6, no. 1 (2014): 170–82. http://dx.doi.org/10.1111/tops.12075.

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Norris, Gareth. "Order Effects in Animated Sequences of Computer-Generated Evidence (CGE)." Psychiatry, Psychology and Law 20, no. 6 (2013): 909–20. http://dx.doi.org/10.1080/13218719.2013.769404.

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Lago-Fernández, Luis F., Manuel A. Sánchez-Montañés, and Eduardo Sánchez. "A visual system for invariant recognition in animated image sequences." Neurocomputing 52-54 (June 2003): 631–36. http://dx.doi.org/10.1016/s0925-2312(02)00845-7.

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Paul, F. "Revealing glacier flow and surge dynamics from animated satellite image sequences: examples from the Karakoram." Cryosphere Discussions 9, no. 2 (2015): 2597–623. http://dx.doi.org/10.5194/tcd-9-2597-2015.

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Abstract. Although animated images are very popular on the Internet, they have so far found only limited use for glaciological applications. With long time-series of satellite images becoming increasingly available and glaciers being well recognized for their rapid changes and variable flow dynamics, animated sequences of multiple satellite images reveal glacier dynamics in a time-lapse mode, making the otherwise slow changes of glacier movement visible and understandable for a wide public. For this study animated image sequences were created from freely available image quick-looks of orthorectified Landsat scenes for four regions in the central Karakoram mountain range. The animations play automatically in a web-browser and might help to demonstrate glacier flow dynamics for educational purposes. The animations revealed highly complex patterns of glacier flow and surge dynamics over a 15-year time period (1998–2013). In contrast to other regions, surging glaciers in the Karakoram are often small (around 10 km2), steep, debris free, and advance for several years at comparably low annual rates (a few hundred m a−1). The advance periods of individual glaciers are generally out of phase, indicating a limited climatic control on their dynamics. On the other hand, nearly all other glaciers in the region are either stable or slightly advancing, indicating balanced or even positive mass budgets over the past few years to decades.
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Nirme, Jens, Magnus Haake, Agneta Gulz, and Marianne Gullberg. "Motion capture-based animated characters for the study of speech–gesture integration." Behavior Research Methods 52, no. 3 (2019): 1339–54. http://dx.doi.org/10.3758/s13428-019-01319-w.

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AbstractDigitally animated characters are promising tools in research studying how we integrate information from speech and visual sources such as gestures because they allow specific gesture features to be manipulated in isolation. We present an approach combining motion capture and 3D-animated characters that allows us to manipulate natural individual gesture strokes for experimental purposes, for example to temporally shift and present gestures in ecologically valid sequences. We exemplify how such stimuli can be used in an experiment investigating implicit detection of speech–gesture (a) synchrony, and discuss the general applicability of the workflow for research in this domain.
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Paul, F. "Revealing glacier flow and surge dynamics from animated satellite image sequences: examples from the Karakoram." Cryosphere 9, no. 6 (2015): 2201–14. http://dx.doi.org/10.5194/tc-9-2201-2015.

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Abstract. Although animated images are very popular on the internet, they have so far found only limited use for glaciological applications. With long time series of satellite images becoming increasingly available and glaciers being well recognized for their rapid changes and variable flow dynamics, animated sequences of multiple satellite images reveal glacier dynamics in a time-lapse mode, making the otherwise slow changes of glacier movement visible and understandable to the wider public. For this study, animated image sequences were created for four regions in the central Karakoram mountain range over a 25-year time period (1990–2015) from freely available image quick-looks of orthorectified Landsat scenes. The animations play automatically in a web browser and reveal highly complex patterns of glacier flow and surge dynamics that are difficult to obtain by other methods. In contrast to other regions, surging glaciers in the Karakoram are often small (10 km2 or less), steep, debris-free, and advance for several years to decades at relatively low annual rates (about 100 m a−1). These characteristics overlap with those of non-surge-type glaciers, making a clear identification difficult. However, as in other regions, the surging glaciers in the central Karakoram also show sudden increases of flow velocity and mass waves travelling down glacier. The surges of individual glaciers are generally out of phase, indicating a limited climatic control on their dynamics. On the other hand, nearly all other glaciers in the region are either stable or slightly advancing, indicating balanced or even positive mass budgets over the past few decades.
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Noll, A. Michael. "The VanDerBeek-Knowlton Movies." Leonardo 52, no. 3 (2019): 314–19. http://dx.doi.org/10.1162/leon_a_01442.

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During the second half of the 1960s, artist-filmmaker Stan VanDerBeek collaborated with Bell Labs researcher Kenneth Knowlton in the production of ten computer-animated movies. This article describes that collaboration and discusses certain movies that resulted. In this early example of collaboration between an artist and a computer technologist, VanDerBeek built on his experience to learn computer programming, and Knowlton extended his artistic sensitivities and programming languages—each learned from the other. The article concludes with a discussion of the term “computer artist” as used during those early days of computer art and animation. In the author’s opinion, VanDerBeek, by doing his own computer programming, became a computer artist, while Knowlton’s creativity in creating computer-animated sequences made him an artist.
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Lee, Hanju, Yasuhiro Kanakogi, and Kazuo Hiraki. "Building a responsive teacher: how temporal contingency of gaze interaction influences word learning with virtual tutors." Royal Society Open Science 2, no. 1 (2015): 140361. http://dx.doi.org/10.1098/rsos.140361.

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Animated pedagogical agents are lifelike virtual characters designed to augment learning. A review of developmental psychology literature led to the hypothesis that the temporal contingency of such agents would promote human learning. We developed a Pedagogical Agent with Gaze Interaction (PAGI), an experimental animated pedagogical agent that engages in gaze interaction with students. In this study, university students learned words of a foreign language, with temporally contingent PAGI (live group) or recorded version of PAGI (recorded group), which played pre-recorded sequences from live sessions. The result revealed that students in the live group scored considerably better than those in the recorded group. The finding indicates that incorporating temporal contingency of gaze interaction from a pedagogical agent has positive effect on learning.
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Dissertations / Theses on the topic "Animated sequences"

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SQUALLI, HOUSSAINI DRISS. "Etude du comportement transcriptionnel d'une sequence activatrice animale dans des protoplastes de soja." Paris 11, 1991. http://www.theses.fr/1991PA112196.

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L'expression des genes inductibles est controlee par des sequences differentes des sequences promotrices, les sequences enhancer ou activatrices, qui peuvent conferer une specificite tissulaire ou repondre a certains stimulis. La premiere sequence activatrice decrite est celle du virus sv40; depuis, plusieurs sequences remplissant les memes fonctions ont ete decrites chez les vegetaux. Les facteurs vegetaux de transcription et d'activation de la transcription sont-ils capables de reconnaitre un promoteur et une sequence activatrice d'origine virale/animale et d'initier, voire d'activer, la transcription a partir de ces sequences? nous avons donc construit des plasmides d'expression ou le gene marqueur cat est place soit sous le controle du promoteur 19s du camv, soit sous celui de la sequence activatrice et le promoteur (tantot associes, tantot separement) du gene e1a de l'adenovirus 5. L'expression transitoire de ces plasmides a ete etudiee dans des protoplastes de soja apres trois jours d'expression. Nous avons pu montrer: 1) que le promoteur e1a precede de sa sequence activatrice permet la transcription du gene cat; 2) que le taux de transcription du gene cat diminue quand le promoteur e1a est dissocie de sa sequence activatrice; 3) que la sequence activatrice du gene e1a active la transcription a partir du promoteur heterologue 19s et ceci independamment de son orientation. Le promoteur du gene e1a et sa sequence activatrice sont donc reconnus dans des protoplastes vegetaux et la sequence activatrice virale a les proprietes des sequences enhancer
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Matulík, Martin. "Modelování a animace biologických struktur." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2018. http://www.nusl.cz/ntk/nusl-377662.

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Following work deals with subject matter of digital modelling and animation of biological structures. Software tools for computer generated images (CGI), well proven in common practice, are evaluated, as well as tools for specific activities, available inside chosen software environment. Among vast pool of modelling approaches are discussed tools suitable for creation and representation of selected structures, along with tools essential for their consequent animation. Possible rendering approaches and their parameters in relation to qualities of resulting computer-generated images are discussed as well. Above-mentioned approaches will be consequently utilized for modelling, physical simulation and animation of erythrocyte’s flow throughout blood vessel in following project. Resulting output of that work will be based on series of digital images, suitable for creating video-sequence containing abovementioned animation in end-user digestible form.
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Wolikow, Maryse. "Etudes de parametres cellulaires et matriciels regulant la phase d'activation au cours d'une sequence synchronisee de remaniement chez le rat." Paris 5, 1992. http://www.theses.fr/1992PA05M121.

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Janse, Van Vuuren Michaella. "Human Pose and Action Recognition using Negative Space Analysis." Diss., University of Cape Town, 2004. http://hdl.handle.net/10919/71571.

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This thesis proposes a novel approach to extracting pose information from image sequences. Current state of the art techniques focus exclusively on the image space occupied by the body for pose and action recognition. The method proposed here, however, focuses on the negative spaces: the areas surrounding the individual. This has resulted in the colour-coded negative space approach, an image preprocessing step that circumvents the need for complicated model fitting or template matching methods. The approach can be described as follows: negative spaces surrounding the human silhouette are extracted using horizontal and vertical scanning processes. These negative space areas are more numerous, and undergo more radical changes in shape than the single area occupied by the figure of the person performing an action. The colour-coded negative space representation is formed using the four binary images produced by the scanning processes. Features are then extracted from the colour-coded images. These are based on the percentage of area occupied by distinct coloured regions as well as the bounding box proportions. Pose clusters are identified using feedback from an independent action set. Subsequent images are classified using a simple Euclidean distance measure. An image sequence is thus temporally segmented into its corresponding pose representations. Action recognition simply becomes the detection of a temporally ordered sequence of poses that characterises the action. The method is purely vision-based, utilising monocular images with no need for body markers or special clothing. Two datasets were constructed using several actors performing different poses and actions. Some of these actions included actors waving their arms, sitting down or kicking a leg. These actions were recorded against a monochrome background to simplify the segmentation of the actors from the background. The actions were then recorded on DV cam and digitised into a data base. The silhouette images from these actions were isolated and placed in a frame or bounding box. The next step was to highlight the negative spaces using a directional scanning method. This scanning method colour-codes the negative spaces of each action. What became immediately apparent is that very distinctive colour patterns formed for different actions. To emphasise the action, different colours were allocated to negative spaces surrounding the image. For example, the space between the legs of an actor standing in a T - pose with legs apart would be allocated yellow, while the space below the arms were allocated different shades of green. The space surrounding the head would be different shades of purple. During an action when the actor moves one leg up in a kicking fashion, the yellow colour would increase. Inversely, when the actor closes his legs and puts them together, the yellow colour filling the negative space would decrease substantially. What also became apparent is that these coloured negative spaces are interdependent and that they influence each other during the course of an action. For example, when an actor lifts one of his legs, increasing the yellow-coded negative space, the green space between that leg and the arm decreases. This interrelationship between colours hold true for all poses and actions as presented in this thesis. In terms of pose recognition, it is significant that these colour coded negative spaces and the way the change during an action or a movement are substantial and instantly recognisable. Compare for example, looking at someone lifting an arm as opposed to seeing a vast negative space changing shape. In a controlled research environment, several actors were instructed to perform a number of different actions. After colour coding the negative spaces, it became apparent that every action can be recognised by a unique colour coded pattern. The challenge is to ascribe a numerical presentation, a mathematical quotation, to extract the essence of what is so visually apparent. The essence of pose recognition and it's measurability lies in the relationship between the colours in these negative spaces and how they impact on each other during a pose or an action. The simplest way of measuring this relationship is by calculating the percentage of each colour present during an action. These calculated percentages become the basis of pose and action recognition. By plotting these percentages on a graph confirms that the essence of these different actions and poses can in fact been captured and recognised. Despite variations in these traces caused by time differences, personal appearance and mannerisms, what emerged is a clear recognisable pattern that can be married to an action or different parts of an action. 7 Actors might lift their left leg, some slightly higher than others, some slower than others and these variations in terms of colour percentages would be recorded as a trace, but there would be very specific stages during the action where the traces would correspond, making the action recognisable.In conclusion, using negative space as a tool in human pose and tracking recognition presents an exiting research avenue because it is influenced less by variations such as difference in personal appearance and changes in the angle of observation. This approach is also simplistic and does not rely on complicated models and templates
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Wychowski, Czeslaw. "Expression de la proteine de capside vp1 du poliovirus dans les bacteries et dans les cellules animales : identification d'un epitope de neutralisation et caracterisation de sequences indispensables a l'accumulation de proteines dans le noyau." Paris 7, 1987. http://www.theses.fr/1987PA077173.

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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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Keller, Mario. "Etude des genes de trna chloroplastiques et du gene de la proteine thylakoidale de 32 kd du photosysteme ii chez euglena gracilis : localisation et sequence nucleotidique." Université Louis Pasteur (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR13007.

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Le fractionnement des trna chloroplastiques d'euglena gracilis d'une part par electrophorese bidimensionnelle sur gel de polyacrylamide et d'autre part, par chromatographie sur sepharose 4b a permis d'identifier 24 isoaccepteurs specifiques de 18 aminoacides. Plusieurs de ces trna ont ete purifies et utilises pour localiser leur gene sur le dna chloroplastique. Les genes de trna sont dissemines tout au long de la molecule circulaire du genome plastidial; deux d'entre eux, les genes de trna**(ala) et trna**(ile) sont localises dans la region intercistronique separant les genes des rrna 23s et 16s. Les resultats obtenus lors de ce travail, montrent que la structure et l'organisation des genes de trna et des proteines chloroplastiques d'euglene different de celles observees pour les genes homologues de vegetaux superieurs. Ces divergences suggerent que les chloroplastes d'euglene proviendraient d'un evenement different de celui ayant ete a l'origine des chloroplastes des vegetaux superieurs
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Roussel, Tangi. "Développements de méthodes de traitement et d’acquisition du signal pour la Spectroscopie de Résonance Magnétique 2D in vivo." Thesis, Lyon 1, 2012. http://www.theses.fr/2012LYO10114/document.

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La Spectroscopie de Résonance Magnétique (SRM) constitue un outil non-invasifunique pour l’exploration biochimique du métabolisme des organismes vivants. Cependant,en raison des champs magnétiques couramment utilisés chez l’homme etle petit animal, la SRM in vivo du proton ne permet pas de quantifier précisémentla concentration de tous les métabolites présents dans le cerveau. La SRM à deuxdimensions spectrales (SRM 2D), technique utilisée en routine en chimie, permetde séparer efficacement les signatures spectrales des métabolites facilitant ainsi leuridentification et leur quantification en termes de concentrations. Les travaux réalisésdans le cadre de cette thèse concernent le développement de méthodes d’acquisitionet de quantification de spectres RMN 2D J-résolus in vivo et sont présentéssuivant deux axes majeurs. Le premier axe concerne les travaux relatifs à la SRM2D J-résolue conventionnelle qui ont fait l’objet du développement d’une séquenceJ-PRESS sur un imageur 7 T pour l’acquisition de spectres 2D sur le cerveau de rat.Les données acquises sont traitées avec une méthode d’analyse spectrale développéeet optimisée spécifiquement pour la quantification de données SRM 2D J-résolues,reposant sur une connaissance a priori et un ajustement numérique dans le domainetemporel. Le second axe concerne les travaux relatifs à la réduction de la duréed’acquisition en SRM 2D avec le développement de techniques basées sur le conceptrécent de RMN ultrarapide. Une nouvelle séquence de SRM 2D J-résolue ultrarapidea été développée et validée sur un imageur 7 T et a permis l’acquisition de spectres2D complets avec une durée d’acquisition de l’ordre de la seconde<br>In vivo proton Magnetic Resonance Spectroscopy (MRS) is a powerful tool for metabolicprofiling because this technique is non-invasive and quantitative. However,conventional localized spectroscopy presents important in vivo metabolic informationthrough overlapped spectral signatures greatly affecting the quantification accuracy.Two-dimensional (2D) MRS, originally developed for analytical chemistry,has great potential to unambiguously distinguish metabolites. Therefore, metabolitequantification is improved allowing accurate estimation of their concentrations. Inthis thesis, the research findings are presented under two main headings. The firstline of research focuses on conventional 2D MRS J-resolved. A J-PRESS sequencewas developed allowing the acquisition of in vivo 2D MRS spectra, which were processedby a dedicated quantification method. Experiments were performed on therat brain using a 7 T imaging system and different sampling strategies were evaluated.The quantification method, specifically developed to handle 2D J-resolved MRSdata quantification in time domain, is based on a strong prior-knowledge. However,2D MRS suffers from long acquisition times due to the collection of numerous incrementsin the indirect dimension. Therefore, the second line of research focuseson the reduction of acquisition time using recently developed methods based on theultrafast NMR concept. A new pulse sequence was designed, allowing 3D localizedultrafast 2D J-resolved spectroscopic acquisition on a 7T small animal imaging system. This breakthrough allows the acquisition of a complete 2D spectrum in a singlescan, resulting in acquisition times of a few seconds
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Books on the topic "Animated sequences"

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Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2000.

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The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2006.

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Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features and sequences 1900-1979. McFarland, 2000.

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The animated film encyclopedia: A complete guide to American shorts, features and sequences, 1900-1999. 2nd ed. McFarland & Co., 2011.

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Webb, Graham. Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, And Sequences, 1900-1979. McFarland & Company, 2006.

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Webb, Graham. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, And Sequences, 1900-1979. McFarland & Company, 2006.

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Webb, Graham. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, and Sequences, 1900-1979. McFarland & Company, 2006.

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Goldmark, Daniel. Pixar and the Animated Soundtrack. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.022.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.
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The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, and Sequences, 1900-1979. McFarland Publishing, 2000.

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HaCohen, Ruth. Between Generation and Suspension. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.13.

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The chapter discusses two modes of combining music and moving images that developed in modernism. The first mode, which the author termsgeneration, relates to a type of animated narrative film in which the music precedes the visual sequence which generates the will or thought (modality) that gives rise to the narrative action. “The Sorcerer’s Apprentice,” from the Disney filmFantasia, is examined as an example. In the second mode,suspension, the picture appears as if preceding the music, even if the creative order was different, or the work does not have an actual visual manifestation. The visual sequence, which appears as if deriving from the composer’s inner world, is characterized by minute occurrences, wishing to arouse as an atmosphere or “third consciousness.” The movement “Colors” from Schoenberg’sFive Pieces for an Orchestra, opus 16, is examined as an example alongside examples from film music.
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Book chapters on the topic "Animated sequences"

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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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Ebling, Sarah, Sarah Johnson, Rosalee Wolfe, et al. "Evaluation of Animated Swiss German Sign Language Fingerspelling Sequences and Signs." In Universal Access in Human–Computer Interaction. Designing Novel Interactions. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58703-5_1.

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Layher, Georg, Martin A. Giese, and Heiko Neumann. "Learning Representations for Animated Motion Sequence and Implied Motion Recognition." In Artificial Neural Networks and Machine Learning – ICANN 2012. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33269-2_37.

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Boucher, Jean-David, and Peter Ford Dominey. "Perceptual-Motor Sequence Learning Via Human-Robot Interaction." In From Animals to Animats 9. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11840541_19.

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Luciw, Matthew, Sohrob Kazerounian, Yulia Sandamirskaya, Gregor Schöner, and Jürgen Schmidhuber. "Reinforcement-Driven Shaping of Sequence Learning in Neural Dynamics." In From Animals to Animats 13. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08864-8_19.

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Holliday, Christopher. "DreamWorks Animation, Metalepsis and Diegetic Deconstruction." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0010.

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Chapter Nine applies a framework drawn from Gérard Genette’s (1983) notion of “metalepsis” (recently recovered within contemporary animation studies) to explain the behaviour of computer-animated film characters who freely ascend from the fictional world into the surrounding promotional spaces. Although animation has a long tradition of deconstruction and self-reflexive practices, this chapter offers new space to consider how the seamless worlds of computer-animated films can equally be conceptualised according to a deconstructive comedy of metalepsis. This chapter argues that computer-animated film characters are able to abruptly intrude into company logos, corporate signatures, credits sequences and even features of film form. It maps such repeating comic devices onto wider historical developments in studio signification, digitally-assisted logo design and the promotional strategies of contemporary Hollywood cinema. This chapter also affords the specific opportunity to focus on the cycle of feature-length computer-animated films produced by the Dreamworks Animation studio, which exhibit an unprecedented and widely-operational mingling of promotional space with the animated activity of its digital characters.
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"The Big Picture: Creating Story Sequences." In Prepare to Board! Creating Story and Characters for Animated Features and Shorts. CRC Press, 2015. http://dx.doi.org/10.4324/9780240818993-20.

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Greenberg, Saul, Sheelagh Carpendale, Nicolai Marquardt, and Bill Buxton. "The Animated Sequence." In Sketching User Experiences: The Workbook. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-12-381959-8.50025-0.

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Dixon, Bryony. "Titles and translation in the field of film restoration." In The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0002.

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Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early 1900s. As the film trade was international in nature from its earliest days, intertitles needed to be translated. This chapter offers a brief chronology of the intertitle in film, highlighting the difficulties of translating and adapting title cards with decorative backgrounds and sophisticated animated sequences, either at the time the films were made or today for restoration. It also provides three case studies based on restoration projects conducted at the British Film Institute, showing how language and translation issues play their part in the complex reconstruction process.
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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Reimagining Boundaries: Amateur Animations." In British Women Amateur Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0008.

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Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry
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Conference papers on the topic "Animated sequences"

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Pargas, Roy P., Murtuza Chhatriwala, Daniel Mulfinger, Pushkar Deshmukh, and Sathish Vadhiyar. "Generating animated sequences from 3D whole-body scans." In Electronic Imaging '99, edited by Joseph H. Nurre and Brian D. Corner. SPIE, 1999. http://dx.doi.org/10.1117/12.341050.

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Stevo, Neylor Antunes, Toshiyuki Gotoh, Seiichiro Kagei, Tae Iwasawa, and Marcos de Sales Guerra Tsuzuki. "Animated 3D lung surface reconstruction from asynchronous MR image sequences based on multiple registration." In 2012 5th International Conference on Biomedical Engineering and Informatics (BMEI). IEEE, 2012. http://dx.doi.org/10.1109/bmei.2012.6513176.

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Chan, Sang Lung. "Assessment of MELCOR 1.8.5 Versus Different Versions of SCDAP/RELAP5 MOD 3.3 With Lower Head Creep Rupture Analysis of Alternative Accident Sequences of the Three Mile Island Unit 2." In 12th International Conference on Nuclear Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/icone12-49032.

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The objective of this analysis is to assess MELCOR 1.8.5-RG against SCDAP/RELAP5 MOD 3.3kz (SR5m33kz), and SCDAP/RELAP5 MOD 3.3bf (SR5m33bf). This lower head creep rupture analysis considers: (1) Three Mile Island Unit 2 (TMI-2) alternative accident sequence-1, and (2) TMI-2 alternative accident sequence-2. SCDAP/RELAP5 model of TMI-2 alternative accident sequence-1 includes the continuation of the base case of the TMI-2 accident with the reactor coolant pumps (RCP) tripped, and the High Pressure Injection System (HPIS) throttled after approximately 6000 s accident time, SCDAP/RELAP5 model of TMI-2 alternative accident sequence-2 is derived from the TMI-2 base case accident by tripping the RCP after 6000 s, and the HPIS is reactivated after 12,012 s. MELCOR model of TMI-2 alternative accident sequence-1 is based on MELCOR TMI-2 phase-2 model by tripping the RCP and throttling back the makeup flows to zero from 6000 s onward. In MELCOR model of TMI-2 alternative accident sequence-2, the RCP are tripped from 6000 s and the constant makeup flow rate of 3.75 kg/s — including pump seal flow rate, but without HPIS flow rate — is activated from 6000 s and beyond 10440 s. The simulation is run until the lower head wall ruptures. In addition, the lower head penetration failure is also calculated with MELCOR for both TMI-2 alternative accident sequences. Lower head temperature contours calculated with SCDAP/RELAP5 are visualized and animated with open source visualization freeware ‘OpenDX’. Significant findings of the analysis include: (1) the TMI-2 lower head wall fails by creep rupture with either deactivations or activations of the HPIS; (2) for the TMI-2 alternative accident sequence-1 the time to creep rupture calculated with MELCOR 1.8.5-RG, SR5m33kz, and SR5m33bf agrees reasonably; (3) the calculation with MELCOR for the TMI-2 alternative accident sequence-1 predicts that the lower head wall failure occurred earlier than penetration failure, while MELCOR predicts the opposite for the TMI-2 alternative accident sequence-2; (4) calculation with MELCOR for TMI-2 alternative accident sequence-2 shows that when the lower head wall fails the temperature calculated with MELCOR is 1810.9 K, which exceeds the melting temperature of 1789 K for carbon steel; (5) calculations with both SR5m33kz and SR5m33bf for both TMI-2 alternative accident sequences indicate that different lower head wall locations fail rapidly one after another by a delay of a few seconds, while this is not the case for MELCOR.
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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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Shixue Zhang, Jinyu Zhao, and Bin Wang. "A local feature based simplification method for animated mesh sequence." In 2010 2nd International Conference on Computer Engineering and Technology. IEEE, 2010. http://dx.doi.org/10.1109/iccet.2010.5485394.

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Toogood, R. W. "A Work Cell Animator for Robotics Instruction." In ASME 1991 International Computers in Engineering Conference and Exposition. American Society of Mechanical Engineers, 1991. http://dx.doi.org/10.1115/cie1991-0139.

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Abstract For introductory robotics courses with high student/robot ratios, the lack of robotic hardware can be a problem in providing adequate hands-on experience with robot programming. Used in place of actual robots, computer animation can provide an acceptable substitute to gain insight into robot kinematics and programming. As well, the animation can be used to verify robot programs developed off-line as to movement sequence, illegal moves, and obstacle avoidance. This paper presents a detailed analysis of an algorithm used in a microcomputer animation of a robot moving in a work cell. Topics discussed include representation of the robot and objects in the work cell, specification of the view frame, perspective projection, and several techniques for producing the animation.
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Allen, R. H., S. Nidamarthi, P. V. M. Rao, R. Rhorer, R. D. Sriram, and E. C. Teague. "Collaborating on the Design and Manufacture of an Atomic Artifact Transport System: A Case Study in VRML As a Visualization Tool for Consensus Building." In ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/dac-5600.

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Abstract We report on our experience using the Virtual Reality Markup Language (VRML) to collaborate on the design and manufacture of an artifact transport system (ATS). Specifically designed for the purpose of transporting nanometer-scale dimensional artifacts at pressures ∼10−8 Pa, the ATS consists of a transport cart and an ultra-high vacuum (UHV) system. As its name implies, the ATS is to transport an atomically-accurate specimen created in a molecular beam epitaxy (MBE) laboratory to a scanning tunnel microscope (STM) laboratory across the NIST campus, where metrologists verify atomic-scale measurements. The project team involved between 15 and 20 participants — designers, engineers, physicists and manufacturers — and each individual was involved with the design and assembly of the ATS to varying degrees. After the project engineers developed their assembly models with their CAD tools, we exported the components and assemblies to VRML files. These representations were made available, via web browsers with VRML viewers, for feedback to project team members on their own workstations, which included PCs, Macintoshes and Suns. The port involved characterizing the simulation’s performance over a range of parameters such as processor capability, file size, VRAM available and graphics card capability. After meeting with the fabricators and physicists to determine the approximate assembly sequence of the ATS, we edited, augmented and animated the VRML files on a high-end workstation. By visualizing the animation sequence in a common facility with a videowall, participants were able to reach a consensus for the design and assembly changes needed. We conclude that VRML did help our team collaborate in the design and fabrication processes, although the technology supplemented, rather that supplanted face-to-face meetings. Our experience with VRML on multiple workstations leads us also to conclude that the language needs to be characterized to enhance easy development of engineering models and to achieve true and complete platform-independence.
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