Relevant bibliographies by topics / Direct animation

Contents

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

Academic literature on the topic 'Direct animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Direct animation"

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Bello-Bravo, Julia, Joseph Huesing, Prasanna M. Boddupalli, Georg Goergen, Regina Eddy, Manuele Tamò, and Barry Robert Pittendrigh. "IPM-based Animation for Fall Armyworm: A Multi- Institutional and Virtual International Collaboration Using the Scientific Animations Without Borders (SAWBO) Platform." Outlooks on Pest Management 29, no. 5 (October 1, 2018): 225–30. http://dx.doi.org/10.1564/v29_oct_10.

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Rapid dissemination of critical and accurate information to low-resource and poorly literate people in crisis situations has long been a challenge. Historically, print media as well as radio and television have served as major delivery channels. With the advent of cellphones, SMS (texting), and the Internet, these digital technologies now afford enhanced opportunities for reaching this poorly literate, low-resource client group quickly and efficiently. Here, we describe a two-step, rapid response approach to the Fall Armyworm (Spodoptera frugiperda), an invasive noctuid pest newly causing havoc on maize production in Africa and Asia. First, we developed a science-based, animated video – now being localized further into various languages across Africa and Asia – intended to aid semi-literate, smallholder farmers in identifying and scouting for fall armyworm effectively. Second, we made the animation easily available for (re)distribution in affected areas via the Internet and copying/sharing with Bluetooth®, thereby exponentially increasing the animation's reach across a wide spectrum of diverse languages and literacy levels. In this way, this form of asymmetrical communication hybridizes and combines the educational qualities of print dissemination with the range of radio/television delivery. An urgent need now exists to place the existing mobile ESD FAW animation into as many local languages as needed/possible to improve management of this pest. Such language variants will also increase the usefulness of the FAW animation for governments, intergovernmental institutions, non-government organizations, and civil society groups intent of working with farmers in Africa (and Asia) as it pertains to FAW IPM. The USAID, CIMMYT, IITA, and SAWBO teams will continue to foster awareness around mobile ESD as a FAW resource through each of their respective networks, but we also encourage other research and development organizations to do the same. More broadly, there is also the need to develop and disseminate further SAWBO mobile ESD animations on other aspects of FAW management to assist farmers in their attempts to control this pest. Making sure that target audiences have access to this animation, and any future animations, is undoubtedly a considerable challenge. It will be critical to inform intergovernmental, governmental, and non-governmental organizations, working directly or indirectly with farmers, that this resource exists, such that they can be the direct conduit to its deployment in the field. Thus, this (and any future FAW) animation(s) represent(s) a supporting tool for other organizations to use. It will also require that they develop localized pathways for deployment. However, it is important to note that training local educational deployment agents (e.g., extension agents) in the use of the SAWBO Deployer App allows for a highly effective approach to make SAWBO animations available for deployment with farmers in real time as new animations and language variants become available.
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Snibbe, Scott Sona. "A Direct Manipulation Interface for 3D Computer Animation." Computer Graphics Forum 14, no. 3 (August 1995): 271–83. http://dx.doi.org/10.1111/1467-8659.1430271.

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Snibbe, Scott Sona. "A Direct Manipulation Interface for 3D Computer Animation." Computer Graphics Forum 14, no. 3 (August 1995): 271–83. http://dx.doi.org/10.1111/j.1467-8659.1995.cgf143_0271.x.

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O'Neill, Rob. "Emerging Congruence between Animation and Anatomy." Leonardo 40, no. 2 (April 2007): 168–73. http://dx.doi.org/10.1162/leon.2007.40.2.168.

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The worlds of animation and anatomy have a long-standing connection based on both direct and indirect collaboration. The author surveys a number of projects in which anatomists have consulted on animation projects or animation techniques have been used for data gathering and analysis. The author describes his own work in light of this connection.
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Douville, Brett, Libby Levison, and Norman I. Badler. "Task-Level Object Grasping for Simulated Agents." Presence: Teleoperators and Virtual Environments 5, no. 4 (January 1996): 416–30. http://dx.doi.org/10.1162/pres.1996.5.4.416.

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Simulating a human figure performing a manual task requires that the agent interact with objects in the environment in a realistic manner. Graphic or programming interfaces to control human figure animation, however, do not allow the animator to instruct the system with concise “high-level” commands. Instructions coming from a high-level planner cannot be directly given to a synthetic agent because they do not specify such details as which end-effector to use or where on the object to grasp. Because current animation systems require joint angle displacement descriptions of motion—even for motions that incorporate upwards of 15 joints—an efficient connection between high-level specifications and low-level hand joint motion is required. In this paper we describe a system that directs task-level, general-purpose, object grasping for a simulated human agent. The Object-Specific Reasoner (OSR) is a reasoning module that uses knowledge of the object of the underspecified action to generate values for missing parameters. The Grasp Behavior manages simultaneous motions of the joints in the hand, wrist, and arm, and provides a programmer with a high-level description of the desired action. When composed hierarchically, the OSR and the Grasp behavior interpret task-level commands and direct specific motions to the animation system. These modules are implemented as part of the Jock system at the University of Pennsylvania.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.

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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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M.M.T. Wickramasinghe, M. H. M. Wickramasinghe,. "Impact of using 2D Animation As a Pedagogical Tool." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3435–39. http://dx.doi.org/10.17762/pae.v58i1.1283.

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21st-century knowledge economy driven modern curriculum needs students to perceive complex dimensions of knowledge to be intellectually competent [1]The authors have observed that animation is an excellent way of presenting academics in a less complicated form to students as the concepts can be presented lively and engaging students visually. It has been found out that the platform and the learning atmosphere impact on data mining [2]This study was conducted with the main objective to assess the impact of using 2D animation as an effective teaching tool and to evaluate the most effective learning atmosphere for undergraduate studies. The authors have incorporated a qualitative approach to systematically investigate in-depth the effective use of 2D animation as a teaching tool. The authors have selected 180 business management undergraduate students as the sample of this study.The sample was divided in to two groups where each group comprised of 90 students. One group of students were taught using the 2D animated videos using animated characters relevent to the course module and the other group of students were taught using only the presentation slides created throughMicrosoft power point using only text and images. Through thematic analysis and participant observations, it was found out that there is a direct effect of using animated characters as a teaching tool and it was found out that using 2D animations add more value to the role of a lecturer when delivering through online platforms. This study's findings contribute towards emphasising how effective and innovative teaching techniques can be developed using 2D animations in a classroom environment. Thereby, through positive enhancement of the next generation of leaders' knowledge and attitudes in our country will increase the human intelligence assets in the knowledge-driven economy.
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Wolter, Jan, Bastian Cramer, and Uwe Kastens. "Animation of tile-based games automatically derived from simulation specifications." Computer Science and Information Systems 8, no. 2 (2011): 501–16. http://dx.doi.org/10.2298/csis101220005w.

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Visual Languages (VLs) are beneficial particularly for domain specific applications, since they can support ease of understanding by visual metaphors. If such a language has an execution semantics, comprehension of program execution may be supported by direct visualization. This closes the gap between program depiction and execution. To rapidly develop a VL with execution semantics a generator framework is needed which incorporates the complex knowledge of simulating and animating a VL on a high specification level. In this paper we show how a fully playable tile-based game is specified with our generator framework DEViL. We illustrate this on the famous Pacman1 game. We claim that our simulation and animation approach is suitable for the rapid development process. We show that the simulation of a VL is easily reached even in complex scenarios and that the automatically generated animation is mostly adequate, even for other kinds of VLs like diagrammatic, iconic or graph based ones.
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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.
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Thomas, Bruce H., and Paul Calder. "Supporting cartoon animation techniques in direct manipulation graphical user interfaces." Information and Software Technology 47, no. 5 (March 2005): 339–55. http://dx.doi.org/10.1016/j.infsof.2004.09.003.

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Dissertations / Theses on the topic "Direct animation"

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Noble, Robert A. "Direct sculpting of flexible objects for coherent animation." Thesis, De Montfort University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391548.

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Parker, Kayla. "Every frame counts : creative practice and gender in direct animation." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4309.

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This thesis interrogates the ways in which the body-centred practices of women film artists embrace the materiality of direct animation in order to foreground gendered, subjective positions. Through the researcher's own creative practice, it investigates how this mode of film-making, in which the artist works through physical engagement with the film materials and the material processes of film-making, might be understood as feminine and/or feminist. Direct animation foregrounds touch as the primary sense. Its practices are process-based and highly experimental, because images are made through the agency of the body operating within restrictive parameters, making results difficult to predict or control with precision. For these reasons, direct animation has not been embraced by mainstream, narrative-focused, studio-based models of production, unlike other forms of two and three dimensional animation. It has remained a specialist area for the individual artist and auteur, and, to date, there is a paucity of commentary about direct animation practices, and what exists has been dominated by male voices. In order to develop ideas about the ways in which women represent themselves in an expanded film-making praxis that is focused on the body and materiality of process, this PhD inquiry, encompassing a body of films with written contextualisation, is situated in the context of the direct animation practices of three artists (Caroline Leaf, Annabel Nicolson, and Margaret Tait); and informed by conceptual frameworks provided by Luce Irigaray, Julia Kristeva and Hélène Cixous. This thesis proposes, via interaction between these three axes of research, that women film artists, operating independently, are able to create a female imaginary that represents women and is recognised by them, by constructing positions of practice outside the dominant symbolic modes of patriarchy, which evolve through the maternal body and the materialities of the feminine.
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Walther-Franks, Benjamin [Verfasser], Reiner [Akademischer Betreuer] Malaka, Reiner [Gutachter] Malaka, and Jan [Gutachter] Borchers. "Direct Animation Interfaces : an Interaction Approach to Computer Animation / Benjamin Walther-Franks ; Gutachter: Reiner Malaka, Jan Borchers ; Betreuer: Reiner Malaka." Bremen : Staats- und Universitätsbibliothek Bremen, 2014. http://d-nb.info/1175090190/34.

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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.

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Rodrigues, Diego Adalberto de Jesus. "Facebook3d." Master's thesis, Universidade da Madeira, 2009. http://hdl.handle.net/10400.13/89.

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INTRODUCTION With the advent of Web 2.0, social networking websites like Facebook, MySpace and LinkedIn have become hugely popular. According to (Nilsen, 2009), social networking websites have global1 figures of almost 250 millions unique users among the top five2, with the time people spend on those networks increasing 63% between 2007 and 2008. Facebook alone saw a massive growth of 566% in number of minutes in the same period of time. Furthermore their appeal is clear, they enable users to easily form persistent networks of friends with whom they can interact and share content. Users then use those networks to keep in touch with their current friends and to reconnect with old friends. However, online social network services have rapidly evolved into highly complex systems which contain a large amount of personally salient information derived from large networks of friends. Since that information varies from simple links to music, photos and videos, users not only have to deal with the huge amount of data generated by them and their friends but also with the fact that it‟s composed of many different media forms. Users are presented with increasing challenges, especially as the number of friends on Facebook rises. An example of a problem is when a user performs a simple task like finding a specific friend in a group of 100 or more friends. In that case he would most likely have to go through several pages and make several clicks till he finds the one he is looking for. Another example is a user with more than 100 friends in which his friends make a status update or another action per day, resulting in 10 updates per hour to keep up. That is plausible, especially since the change in direction of Facebook to rival with Twitter, by encouraging users to update their status as they do on Twitter. As a result, to better present the web of information connected to a user the use of better visualizations is essential. The visualizations used nowadays on social networking sites haven‟t gone through major changes during their lifetimes. They have added more functionality and gave more tools to their users, but still the core of their visualization hasn‟t changed. The information is still presented in a flat way in lists/groups of text and images which can‟t show the extra connections pieces of information. Those extra connections can give new meaning and insights to the user, allowing him to more easily see if that content is important to him and the information related to it. However showing extra connections of information but still allowing the user to easily navigate through it and get the needed information with a quick glance is difficult. The use of color coding, clusters and shapes becomes then essential to attain that objective. But taking into consideration the advances in computer hardware in the last decade and the software platforms available today, there is the opportunity to take advantage of 3D. That opportunity comes in because we are at a phase were the hardware and the software available is ready for the use of 3D in the web. With the use of the extra dimension brought by 3D, visualizations can be constructed to show the content and its related information to the user at the same screen and in a clear way. Also it would allow a great deal of interactivity. Another opportunity to create better information‟s visualization presents itself in the form of the open APIs, specifically the ones made available by the social networking sites. Those APIs allow any developers to create their own applications or sites taking advantage of the huge amount of information there is on those networks. Specifically to this case, they open the door for the creation of new social network visualizations. Nevertheless, the third dimension is by itself not enough to create a better interface for a social networking website, there are some challenges to overcome. One of those challenges is to make the user understand what the system is doing during the interaction with the user. Even though that is important in 2D visualizations, it becomes essential in 3D due to the extra dimension. To overcome that challenge it‟s necessary the use of the principles of animations defined by the artists at Walt Disney Studios (Johnston, et al., 1995). By applying those principles in the development of the interface, the actions of the system in response to the user inputs became clear and understandable. Furthermore, a user study needs to be performed so the users‟ main goals and motivations, while navigating the social network, are revealed. Their goals and motivations are important in the construction of an interface that reflects the user expectations for the interface, but also helps in the development of appropriate metaphors. Those metaphors have an important role in the interface, because if correctly chosen they help the user understand the elements of the interface instead of making him memorize it. The last challenge is the use of 3D visualization on the web, since there have been several attempts to bring 3D into it, mainly with the various versions of VRML which were destined to failure due to the hardware limitations at the time. However, in the last couple of years there has been a movement to make the necessary tools to finally allow developers to use 3D in a useful way, using X3D or OpenGL but especially flash. This thesis argues that there is a need for a better social network visualization that shows all the dimensions of the information connected to the user and that allows him to move through it. But there are several characteristics the new visualization has to possess in order for it to present a real gain in usability to Facebook‟s users. The first quality is to have the friends at the core of its design, and the second to make use of the metaphor of circles of friends to separate users in groups taking into consideration the order of friendship. To achieve that several methods have to be used, from the use of 3D to get an extra dimension for presenting relevant information, to the use of direct manipulation to make the interface comprehensible, predictable and controllable. Moreover animation has to be use to make all the action on the screen perceptible to the user. Additionally, with the opportunity given by the 3D enabled hardware, the flash platform, through the use of the flash engine Papervision3D and the Facebook platform, all is in place to make the visualization possible. But even though it‟s all in place, there are challenges to overcome like making the system actions in 3D understandable to the user and creating correct metaphors that would allow the user to understand the information and options available to him. This thesis document is divided in six chapters, with Chapter 2 reviewing the literature relevant to the work described in this thesis. In Chapter 3 the design stage that resulted in the application presented in this thesis is described. In Chapter 4, the development stage, describing the architecture and the components that compose the application. In Chapter 5 the usability test process is explained and the results obtained through it are presented and analyzed. To finish, Chapter 6 presents the conclusions that were arrived in this thesis.
Orientador: Ian Oakley
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Ryan, Reilly Judd. "Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5583.

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This paper explores the presentation of family in the controversial FOX Network television program Family Guy. Polarizing to audiences, the Griffin family of Family Guy is at once considered sophomoric and offensive to some and smart and satiric to others. Though neither judgment of the show is necessarily mutually exclusive, the intention of this study is to reconcile those disparate viewpoints in order to measure the show's purposefulness. After all, if Family Guy succeeds in its satire, it is full of social purpose, offensiveness notwithstanding. This thesis focuses on arguably the main point of contention in Family Guy: the family. Those critical of the show denounce the Griffins for their less-than-exemplary behavior. Proponents of the show—while not exactly disagreeing with that perception of the Griffins—differ in their approach, as they consider the Griffins satiric characters meant to be models of misbehavior. Reformative in nature, satire attacks vice and folly directly and indirectly, and it is in its combined use of direct and indirect satire that Family Guy, at times, misses the mark. By directly satirizing other families in its trademark cutaway transitions, Family Guy places its own family, the Griffins, in a position of superiority, which complicates matters when the Griffins indirectly become objects of satire. Especially regarding the relationship between Griffin family patriarch Peter and his daughter Meg, Family Guy oftentimes presents an imbalanced “satire” that would best be described as “abuse.”
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Lundberg, Lukas. "Art Directed Fluid Flow With Secondary Water Effects." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81808.

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This thesis describes methods for applying secondary water effects as spray, foam, splashes and mist to a fluid simulation system. For an art direction control over the base fluid flow a Fluid Implicit Particle solver with custom fields is also presented. The methods build upon production techniques within the visual effects industry, fluid dynamics and relevant computer graphics research. The implementation of the methods is created within Side Effects Software Houdini.
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Wade, Tom H. "Circulation of the Light: Mandalas, Alchemy, and Non-Linear Cinema." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors149441657291478.

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Winkelmolen, Guus. "Improving The Visualization And Animation Of Weighted Dynamic Networks Using Force-Directed Graph Drawing Algorithms." Thesis, Linköpings universitet, Institutet för analytisk sociologi, IAS, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-178699.

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The visualization of networks as graphs composed of nodes and vertices benefits many fields of science including social network analysis. The use case of visualizations is twofold. Firstly, easy initial visualization of networks will help researchers find and specify their hypotheses before having to do any technical analysis. Secondly, once hypotheses are con confirmed, visualizations can be used to support these findings, making it possible to explain them to a broad audience. This thesis will expand upon the tools currently available for visualizing undirected graphs in two ways. Modern force-directed graph drawing algorithms are adjusted in order to approximate visualizing graphs' edges' weights as their respective lengths. A number of adjustments of Yifan Hu's spring-electrical force-directed graph drawing algorithm are compared and evaluated. Even though this is an NP-hard problem, results show that simple adjustments can improve a layout's edges' weight-length (ewl) relationship significantly. In order to evaluate whether graph's ewl scores improve from running the weight-adjusted Yifan Hu algorithm, a novel method is introduced. A number of experiments are conducted to investigate the effects of degree and variety of edge weights on a graph's ewl score. The second contribution concerns the design and implementation of functions aimed at visualizing the transitions between different timepoints of the same graph. Different approaches to ensure insightful animation of dynamic graphs are discussed and a method for the animation of dynamic graphs is implemented. Finally, both contributions are combined and applied to a real-world offline dynamic graph, resulting in visualisation of the co-occurrence of popular Twitter hashtags during the COVID-19 pandemic in Sweden. This application will visually highlight the contributions' strengths and weaknesses.
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Lindström, Kristoffer. "Performance of Marching Cubes using DirectX Compute Shaders Compared to using HistoPyramids." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-4493.

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Visualization of volumetric data has always been useful in big va- riety of ways, for example computer tomography (CT) and magnet resonance tomography (MRT) are two major applications of this sorts of algorithms. Since volumetric data has no limitation regarding the shape of the object that ordinary mesh algorithms has we can fully reconstruct anything using the Marching cubes algorithm. New tech- niques allow us to implement this algorithm by new and exible means. Here we will use the latest of DirectX technology to run marching cubes in realtime using compute shaders.
kristoffer.swe@gmail.com
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Books on the topic "Direct animation"

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Noble, Robert Arthur. Direct sculpting of flexible objects for coherent animation. Leicester: De Montfort University, 1998.

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Alexander, Enzmann, ed. Making movies on your PC: Dream up, design, and direct 3-D movies. Corte Madera, Calif: Waite Group Press, 1993.

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Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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Vaughan, Peter. Director close-up: Interactivity & animation, versions 4 and 5. Belmont, Calif: Wadsworth Pub., 1997.

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Anthony, Head, ed. 3D for the Web: Interactive 3D animation using 3ds max, Flash and Director. Amsterdam: Elsevier Focal Press, 2005.

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Macromedia Director MX and Lingo: Training from the source. Berkeley, CA: Macromedia Press, 2003.

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MacGillivray, Carol. 3D for the Web. San Diego: Elsevier Science & Technology, 2010.

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1966-, Gross Michael, ed. Macromedia Director 8.5 Shockwave Studio for 3D: Training from the source. Berkeley, CA: Macromedia Press, 2002.

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Book chapters on the topic "Direct animation"

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Applequist, Janelle, and Matthew P. McAllister. "‘Don’t Mind Me, I’m Just a Dermatophyte’: The Use of Animation in Direct-to-Consumer Pharmaceutical Television Advertising." In Palgrave Animation, 195–209. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27939-4_10.

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Welsch, Norbert, and Frank von Kuhlberg. "Animation." In Macromedia Director für Durchstarter, 223–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-642-85274-9_8.

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Schifman, Richard S., Günther Heinrich, and Yvonne Heinrich. "Workshop Shockwave für Director." In Animation und Interaktion im WWW, 91–125. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/978-3-642-48790-3_6.

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Rhodes, Gary D., and Robert Singer. "Mise-en-scène." In Consuming Images, 62–91. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460682.003.0004.

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Chapter 3 covers mise-en-scène, specifically examining Sets and Settings, Blocking and Direct Address, Special Effects, and Animation: all that the frame contains within its physical and visible parameters to create signifying, ideologically imbued images. As the commercial’s mise-en-scène invokes the familiar, the shock of the unfamiliar, or even the convergence of the two, it establishes a sense of product differentiation in a highly competitive market for the television audience.
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Hu, Tze-yue G. "Interpretations and Thoughts of the Animated Self in Cowherd’s Flute." In Animating the Spirited, 116–36. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0009.

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Existing published works on classic Chinese watercolor-and-ink animation (shuimo donghua) tend to focus on the propaganda-nationalistic aspects of its making. This essay, however, draws attention to the philosophical side of the story-telling images and narratives found principally in the animated works directed by the late animator, Te Wei (1915-2010), who was a founding member of the Shanghai Animation Studio. The animated work, Cowherd’s Flute (1963), is the main focus in this essay. The essay argues that the spiritual yoke of Te Wei’s watercolor-and-ink animation is profoundly Daoist, reflecting a traditional Chinese native philosophy in a subtle technological setting. It advances the view that such generic animation has rekindled a laden strand of Chinese heritage thought by giving life and movement to its aesthetic and philosophical elements. The author also theorizes the concept of the animated self in the light of the historical-political environment in which the animation was made.
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Ahmed, Omar. "The Legacy of RoboCop." In RoboCop, 97–106. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0006.

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This chapter explores the legacy of Paul Verhoeven's RoboCop in terms of the original critical reception, the film's relationship with its two sequels, and the marketing of the film. Released in the summer season of 1987, RoboCop was an unexpected commercial success, leading to the creation of the RoboCop universe, extending into television, video games, animation, and numerous sequels. The chapter then considers Verhoeven's work in the Hollywood science-fiction genre. The success of RoboCop led to an interest in science-fiction cinema that would lead Verhoeven to direct three more science-fiction films: Total Recall (1990), Starship Troopers (1997), and Hollow Man (2000). None of the films are pure science fiction but hybrids, fusing conventions from a broad range of genres including war movie, horror, and the political thriller.
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Kelly, Brine. "Seven Film Storytelling Essentials." In The Art of Cinematic Storytelling, 12–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.003.0002.

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Chapter 1 describes seven ideas that are the foundation of visual storytelling in film, video, animation, television, and game design. The application of these ideas minimizes the confusion about time and space that can easily be created and which distracts viewers from the narrative, reducing their understanding and enjoyment of a filmmaker’s story. This chapter introduces ideas that can be used to direct and hold an audience’s attention. It provides a quick start to students of filmmaking, as well as giving an overview of what is explored in detail in later chapters. The concepts described include juxtaposing images for meaning, telling a story in a series of dramatic beats, positioning the camera effectively for the action and drama, making cuts smooth, deciding when to using motivated and unmotivated camera moves, establishing screen geography, and using transitions.
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Badler, Norman I., Cary B. Phillips, and Bonnie Lynn Webber. "Simulation with Societies of Behaviors." In Simulating Humans. Oxford University Press, 1993. http://dx.doi.org/10.1093/oso/9780195073591.003.0008.

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Recent research in autonomous robot construction and in computer graphics animation has found that a control architecture with networks of functional behaviors is far more successful for accomplishing real-world tasks than traditional methods. The high-level control and often the behaviors themselves are motivated lay the animal sciences, where the individual behaviors have the following properties: . . .• they are grounded in perception. . . . . . . • they normally participate in directing an agent’s effectors. . . . . . . • they may attempt to activate or deactivate one-auother. . . . . . . • each behavior by itself performs some task useful to the agent. . . . In both robotics and animation there is a desire to control agents in environments, though in graphics both are simulated, and in both cases the move to the animal sciences is out of discontent with traditional methods. Computer animation researchers are discontent with direct kinematic control and are increasingly willing to sacrifice complete control for realism. Robotics researchers are reacting against the traditional symbolic reasoning approaches to control such as automatic planning or expert systems. Symbolic reasoning approaches are brittle and incapable of adapting to unexpected situations (both advantageous and disastrous). The approach taken is, more or less, to tightly couple sensors and effectors and to rely on what Brooks [Bro90] calls emergent behavior, where independent behaviors interact to achieve a more complicated behavior. From autonomous robot research this approach has been proposed under a variety of names including: subsumption architecture by [Bro86], reactive planning by [GL90, Kae90], situated activity by [AC87], and others. Of particular interest to us, however, are those motivated explicitly by animal behavior: new AI by Brooks [Bro90], emergent reflexive behavior by Anderson and Donath [AD90], and computational neuro-ethology by Beer, Chiel, and Sterling [BCS90]. The motivating observation behind all of these is that even very simple animals with far less computational power than a calculator can solve real world problems in path planning, motion control, and survivalist goal attainment, whereas a mobile robot equipped with sonar sensors, laser-range finders, and a radio-Ethernet connection to a, Prolog-based hierarchical planner on a supercomputer is helpless when faced with the unexpected.
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Balog, Alexandru, and Costin Pribeanu. "An Extended Acceptance Model for Augmented Reality Educational Applications." In Advances in Game-Based Learning, 537–54. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0125-1.ch022.

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Augmented Reality (AR) combines 3D visualization, multimodal interaction, animation and direct manipulation in a hands-on learning experience that is able to enhance the students' motivation to learn. Designers and educators need a deeper understanding of the key factors that drive learners' acceptance and continuing interaction with an AR-based educational system. A concern for educators is to understand how these factors interact and to what extent each factor contributes to the acceptance of the AR technology. This work further extends the technology acceptance model by included three additional constructs that point to the ease of learning how to use an AR-based application (learnability), perceived efficiency, and cognitive absorption. The results show that the perceived enjoyment is the main determinant of the intention to use having a greater positive influence than the perceived usefulness. The perceived efficiency and perceived cognitive absorption have only indirect effects on the intention to use, which are mediated by the perceived usefulness and perceived enjoyment.
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"Responsibility of the Director." In Timing for Animation, 27. Routledge, 2013. http://dx.doi.org/10.4324/9780080951720-10.

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Conference papers on the topic "Direct animation"

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Patchen, Peter. "Direct feed." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312518.

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Schneider, Oliver S., Ali Israr, and Karon E. MacLean. "Tactile Animation by Direct Manipulation of Grid Displays." In UIST '15: The 28th Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2807442.2807470.

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Dima, Mariza, John Lee, and Mark Wright. "Exploration of direct bi-manual interaction in digitally mediated stop-motion animation." In the 6th Nordic Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1868914.1868992.

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Nogueira, Yuri Lenon B., Creto Augusto Vidal, and J. B. Cavalcante-Neto. "A nervous system model for direct dynamics animation control based on evolutionary computation." In the 2008 ACM symposium. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1363686.1364117.

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Chen, Shicheng, Yifeng Zheng, Chengrui Wu, Guorui Sheng, Pierre Roussel, and Bruce Denby. "Direct, Near Real Time Animation of a 3D Tongue Model Using Non-Invasive Ultrasound Images." In ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. http://dx.doi.org/10.1109/icassp.2018.8462096.

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Ge, Q. J., and Donglai Kang. "Motion Interpolation With G2 Composite Bézier Motions." In ASME 1994 Design Technical Conferences collocated with the ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/detc1994-0060.

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Abstract This paper deals with smooth motion interpolation. Recently, a direct construction algorithm was developed for designing piecewise parametric motions with second order geometric continuity (G2). The present paper provides a refined version of the G2 spline algorithm and shows how the G2 spline motion can be used to fulfill the task of motion interpolation by solving the problem of inverse design for the G2 spline motion. The results are useful for computer aided motion animation, and Cartesian trajectory generation for CNC machines and robot manipulators.
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Knight, Melissa. "DirecTV 'troll'." In SIGGRAPH Asia 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2671032.2671051.

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Thomas, Bruce H., and Paul Calder. "Animating direct manipulation interfaces." In the 8th annual ACM symposium. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/215585.215628.

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Jian, Shengqi, Cheng Yin, Luc Rolland, and Lesley James. "Five Bar Planar Manipulator Simulation and Analysis by Bond Graph." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-37602.

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This work focuses on the bond graph modelling method and its application on multi-body system, especially on the five-bar parallel robot. Five-bar parallel robot is comprised of four arms, two revolute actuators and five revolute joints. This paper adopts five-bar parallel robot in symmetric configuration as simulation object. As it will be used as a pickup and placing machine, its workspace is fixed on Cartesian coordinate. The relationship between the two rotating angles and end effector’s desire position is built by inverse kinematics. Bond graph is used to describe moment, torque, velocity, angle relationships. In this project, the dynamic performances between arms, motors at robot basement and end effector will be researched. In this paper, an investigation about how to use bond graph to model DC (direct current) servo motor and an integrated motion control system is carried out. During a typical end effector point-point displacement, the torque change between arms is plotted. Finally, 3-D animation experiment is conducted. Experiment results show that bond graph can simulate robot dynamics performance without having to make a large number of equations. It is able to simulate and solve five-bar kinematics problem in the process.
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He, Zhelong, Qingchang Liu, Katherine Yang, Niemann Pest, Baoxing Xu, Jason Kerrigan, and Marek-Jerzy Pindera. "Interactive Educational Testbed for Statics and Mechanics of Materials." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-87938.

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A mechanics education testbed comprised of instructional modules written in Mathematica was developed in order to increase the effectiveness of course delivery through an integrated computation, visualization, and animation approach with the aim of accelerating the learning process. Overall, 25 modules were developed for Statics and another 20 modules for Mechanics of Materials during the AY2017-18. The testbed complements class instruction and motivates self-learning by illustrating basic mechanics concepts relative to homework problems and textbook examples. Its features include visualization, parametrization, and trial-and-error simulation capabilities that enable students to view simulated phenomena from different perspectives, thereby leaving a lasting impression which facilitates quicker absorption of the mechanics concepts than the traditional approach. The parametrization feature enables variation of boundary and initial conditions, as well as other parameters that affect the simulated phenomenon to demonstrate each parameter’s influence on the system response. These capabilities enable students to employ the trial-and-error approach in acquiring an intuitive understanding of the visualized phenomenon, validated through direct calculation. Student comments are summarized and survey results are analyzed and related to individual student performance. Student assessment confirms the testbed’s effectiveness and provides helpful suggestions for further enhancement/development. Representative modules are presented to demonstrate their functions and capabilities.
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