Relevant bibliographies by topics / Frame-by-frame animation

Contents

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

Academic literature on the topic 'Frame-by-frame animation'

Author: Grafiati
Published: 7 June 2025
Last updated: 11 July 2025

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Journal articles on the topic "Frame-by-frame animation"

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Paliy, N. "Frame-By-Frame Animation in Teaching Descriptive Geometry." Geometry & Graphics 11, no. 3 (2023): 39–47. http://dx.doi.org/10.12737/2308-4898-2023-11-3-39-47.

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The paper presents using of frame-by-frame animation of geometric constructions in the course "Descriptive Geometry" to present educational graphic material in a more accessible and visual form for students.
 Electronic support of descriptive geometry classes used at the Department of Engineering Graphics at Bauman Moscow State Technical University made in the technique of frame-by-frame animation in the format of presentations and electronic text publications is presented.
 The technique of creating frame-by-frame animation is described. Geometric constructions are performed using computer graphics systems, in layers; each layer contains one step of construction. When layers are showed on alternately, a number of graphic files are created, which are inserted in a certain sequence on presentation slides or on the pages of an electronic text publication. During the demonstration, a visualization of the course of geometric constructions is created on the screen.
 Teachers when giving lectures and practical classes use electronic support of classes, made in the format of presentations to demonstrate the course material on the screen in the classroom. The presentations contain graphic material in the technique of frame-by-frame animation and minimal text material; the teacher gives the necessary explanations.
 Electronic support of classes, made in the form of an electronic educational visual aid, is used for independent work of students. Unlike classroom presentations, in an electronic educational visual aid, the animation of geometric constructions is accompanied by a text step-by-step description of the sequence of solving geometric problems.
 The main advantage of using electronic training software made in frame-by-frame animation technology compared to traditional software is the visibility and the ability to consistently, step by step, understanding the course of graphic constructions, with the ability to go back and repeat the sequence at any stage.
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Wijanarko, Andang. "Implementasi Prinsip Animasi Straight Ahead Action pada Karakter Hewan Berbasis Animasi 2D." JAMI: Jurnal Ahli Muda Indonesia 1, no. 1 (2020): 73–84. http://dx.doi.org/10.46510/jami.v1i1.20.

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Abstrak
 Objective. Rangkaian gerak animasi diwujudkan kedalam karakter-karakter animasi yang biasa dijumpai dalam bentuk apapun. Seorang animator harus memahami prinsip-prinsip dasar dan teknik-teknik tertentu dalam proses animasi sehingga karakter animasi yang dihasilkan memiliki kualitas gerak yang indah dan menarik. Penelitian ini membahas tentang salah satu metode atau prinsip animasi straight ahead action untuk menciptakan gerakan animasi hewan yang detail dan halus. Gerakan yang telah ditentukan untuk karakter hewan antara lain gerakan melompat, berlari, dan gerakan kepala dengan menggunakan karakter hewan kelinci.
 Materials and Methods. Metode straight ahead action digunakan untuk membuat dan menciptakan gerakan animasi dengan cara menggambar satu per satu (frame by frame) dari awal sampai akhir adegan oleh seorang animator. Perancangan animasi terdiri dari tiga tahap mulai dari pra produksi, produksi, dan pasca produksi, serta menggunakan aplikasi Adobe Animate CC 2018 untuk pembuatan objek animasi 2D. 
 Results. Penelitian ini berhasil menerapkan gerakan animasi hewan dengan gerakan melompat, berlari dan menggerakkan kepala dengan menggunakan prinsip animasi straight ahead action dengan hasil animasi yang detail dan halus.
 Conclusion. Penelitian ini menghasilkan video animasi karakter hewan berbasis animasi 2D dengan kualitas gerakan animasi yang detail dan halus karena menerapkan prinsip animasi straight ahead action untuk seluruh proses animating-nya.
 Abstrak
 Objective. Animated movements are manifested into animated characters that are usually found in any form. An animator must understand the basic principles and certain techniques in the animating process so that the animated characters produce beautiful and interesting motion qualities. This research discusses the implementation of the principle of straight ahead action animation to create detailed and smooth animation movements.
 Materials and Methods. The straight ahead action method is used to make animated movements by drawing one by one (frame by frame) from the beginning to the end of the scene by an animator. The discussion of the method is carried out by implementing the movements of animals running, jumping, and moving the head, also using Adobe Animate CC 2018 for creating 2D animated objects. The design of animation consists of three stages starting from pre-production, production, and post-production.
 Results. This research succeeded in applying animal animation with jumping, running and moving the head using the principle of straight ahead action animation with detailed and smooth animation results.
 Conclusion. This research produces an animated video character of 2D-based animal animation with a detailed and smooth motion animation quality because it applies the principle of straight ahead action animation for the entire animating process.
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Yang, Yixin, Zhiqang Xiang, and Jianbo Li. "Research on Low Frame Rate Video Compression Algorithm in the Context of New Media." Security and Communication Networks 2021 (September 27, 2021): 1–10. http://dx.doi.org/10.1155/2021/7494750.

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When using the current method to compress the low frame rate video animation video, there is no frame rate compensation for the video image, which cannot eliminate the artifacts generated in the compression process, resulting in low definition, poor quality, and low compression efficiency of the compressed low frame rate video animation video. In the context of new media, the linear function model is introduced to study the frame rate video animation video compression algorithm. In this paper, an adaptive detachable convolutional network is used to estimate the offset of low frame rate video animation using local convolution. According to the estimation results, the video frames are compensated to eliminate the artifacts of low frame rate video animation. After the frame rate compensation, the low frame rate video animation video is divided into blocks, the CS value of the image block is measured, the linear estimation of the image block is carried out by using the linear function model, and the compression of the low frame rate video animation video is completed according to the best linear estimation result. The experimental results show that the low frame rate video and animation video compressed by the proposed algorithm have high definition, high compression quality under different compression ratios, and high compression efficiency under different compression ratios.
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Syahfaridzah, Aldina, Khairunnisa Khairunnisa, and Dharmawati Dharmawati. "PENERAPAN METODE FRAME BY FRAME DALAM PEMBUATAN ANIMASI TATA CARA HAJI SESUAI SUNNAH RASUL MENGGUNAKAN APLIKASI 3DS MAX." METHOMIKA Jurnal Manajemen Informatika dan Komputerisasi Akuntansi 5, no. 1 (2021): 9–16. http://dx.doi.org/10.46880/jmika.vol5no1.pp9-16.

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Advances in technology in the field of information are developing very rapidly at this time, especially information in the field of animation. The animation is a visual form that moves and is used to present information and learning that is difficult to understand if delivered in general. The use of animation media is specially made to find out the procedures for the Hajj pilgrimage in order to increase knowledge for someone who wants to perform the Hajj or want to know the Hajj procedures because Hajj is the fifth pillar of Islam where if someone carries it out, much wisdom will be gained. Information about the pilgrimage procedures is packaged with 3D animation and created using 3Ds Max application and the frame by frame method, where all movements of the animation are arranged using frames. So that the resulting learning media, namely animated videos that add insight and information for someone because it is packaged with media that is more attractive and easy to understand, namely animation.
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Syarifuddin, Ashrul, and Terry Lucas. "Exploring 3D Playblast-To-2D Animation Rotoscoping Techniques." Trends in Undergraduate Research 4, no. 2 (2021): d1–13. http://dx.doi.org/10.33736/tur.3499.2021.

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Rotoscoping can produce believable 2D animation and movements when the process is done correctly. However, not all live-action footage can be easily rotoscoped due to scenes or fictional designs that are impossible to shoot. To overcome this technical challenge, 3D playblast can be used as footage for an alternative source for rotoscoping. This research aims to explore and evaluate two rotoscoping techniques of transforming 3D playblast into 2D animation. Two different animation software (Adobe Animate CC and Toon Boom Harmony) were used to explore those rotoscoping techniques. The method began by designing a storyboard with dynamic camera angles. Then, animated 3D models were developed based on the storyboard as footage for rotoscoping. Then, those animated 3D models were rotoscoped frame by frame using ‘Toon Boon Harmony’ and ‘Adobe Animated CC’. The rotoscope outputs were evaluated for their effectiveness and weaknesses. Findings show that rotoscoping frame by frame is viable for both software with some nuances. Nevertheless, the proposed rotoscope techniques can maintain consistency between each frame without losing the proportion of anatomy and style when animating in an extreme and distorted scene.
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Liu, Jingyu. "Research on the Application of Computer Artificial Intelligence Technology in the Production of Film Digital Media Animation." Highlights in Science, Engineering and Technology 1 (June 14, 2022): 57–63. http://dx.doi.org/10.54097/hset.v1i.427.

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Once the frame-by-frame shooting as the main body of animation, it has gradually become invalid under the background of modern computer digital technology. Animation and film have no boundaries, but the fact is the opposite. Animation, a special communication medium, is in the current pan-media era. Its independence has become increasingly prominent. This article mainly combs the animation and film production technology, visual shock, visual and psychological perspectives, analyzes the reasons for the failure of frame-by-frame shooting, and discusses animation from the impact of the different shock experience and the exaggeration of deformation on the viewer's visual psychology. An important boundary with the movie.
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Asmara, Danu. "Development of an Interactive 3D Animation as a Visual Medium for Depicting Student Life Using Frame by Frame Technique." Journal of Artificial Intelligence and Engineering Applications (JAIEA) 4, no. 3 (2025): 2230–34. https://doi.org/10.59934/jaiea.v4i3.1140.

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This study aims to design and produce a short 3D animated film that represents the dynamics of student life, with a focus on reinforcing ethical values, social norms, and courtesy within the academic environment. In the context of today's digital technology development, 3D animation is considered a highly effective interactive visual learning medium that can capture the attention of younger generations, especially when addressing topics related to character and morality. Traditional methods of delivering such content are often perceived as monotonous and less engaging, prompting the adoption of frame-by-frame animation techniques as an innovative alternative. This technique allows for the creation of smooth and dynamic motion expressions, supporting the emotional and in-depth delivery of messages. The development process includes story planning, character design, animation production, and the evaluation of its effectiveness. The visual production was carried out using Blender version 3.6 for 3D animation creation, and CapCut was used as a post-production editing tool. Evaluation was conducted through surveys, interviews, and observations involving students aged 18–25, analyzed using a mixed-method approach combining quantitative and qualitative data. The results indicate that this animation medium enhances students’ understanding and awareness of the importance of applying ethical values and norms in campus life. Moreover, it is perceived as more attractive and easier to comprehend than traditional learning methods. This study is expected to contribute to the development of educational media based on animation and serve as a reference for the application of visual technologies in higher education
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Nawawel Sakti Aroisi, Nawawel. "Iklan Animasi “Sebuah Kenangan Manis” Dalam Perspektif Kritik." CITRAWIRA : Journal of Advertising and Visual Communication 3, no. 2 (2022): 169–82. http://dx.doi.org/10.33153/citrawira.v3i2.4638.

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“Sebuah Kenangan Manis” comercial ads by Khong Huan company received a lot of attention and appreciation from many internet users when it was released. By using 2D animation media created using the frame by frame technique, it requires animators to draw images one by one to animate the drawings. The animation of “A Sweet Memories” interesting because it is quite rare for advertisements made by local studios to use 2D animation media with quality that can be said to compete with foreign animation. In addition, in the advertisement, Khong Huan also claims to use a Japanese animation style called anime, which in Indonesia has quite a lot of fans. In response to the many appreciations for this advertisement, this study will try to directly analyze the animation visuals of “Sebuah Kenangan Manis” advertisement by frame by frame.
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Kamola, Suleymanova. "COMPUTER ANIMATION DEVELOPMENT ON VISUAL ARTS." Multidisciplinary Journal of Science and Technology 5, no. 3 (2025): 857–60. https://doi.org/10.5281/zenodo.15120047.

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This article analyzes the impact of CGI (Computer-Generated Imagery) technologies on the artistic form of animation. Various technologies used in animation production significantly influence visual style and movement dynamics. The study covers the evolution from early hand-drawn animation to modern 3D animation, Motion Capture, and AI-assisted animation. Additionally, it examines the development of frame-by-frame animation and vector animation techniques in Uzbek animation, discussing their technical and artistic characteristics. The article emphasizes how the synergy between animation technologies and creative approaches contributes to new means of artistic expression, as well as the aesthetic impact of CGI advancements on animation quality.
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Teh, Sharafina, Vimala Perumal, and Hushinaidi Abdul Hamid. "Investigating How Frame Rates in Different Styles of Animation Affect the Psychology of the Audience." International Journal of Creative Multimedia 4, no. 2 (2023): 10–31. http://dx.doi.org/10.33093/ijcm.2023.4.2.2.

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As an art form that has existed since nearly a century ago, animation has birthed many different techniques of presenting visual motion to the audience, either in a more familiar, realistic representation or a stylistic visual choice that goes beyond imagination. Various elements such as characters, objects, environments and abstract constructs are combined into one cohesive shot and subsequently, several of these shots are compiled to create one scene in an animation production. Among these aspects of animation that have to be taken into consideration heavily by animators, is frame rates, or more commonly known and abbreviated as FPS (frames per seconds). The definition of frame rate is basically the amount of frames or images that are playing within one second exactly in a time-based work. There are several variations of frame rates that are used by different styles of animation, whether it is traditional hand-drawn 2D animation, fully computer-generated 3D animation, stop motion and even hybrids of these different methods. One such example of an animated work in recent years that has pioneered the usage of different frame rates in their production is the animated feature film by Sony Animation, Spiderman: Into the Spider-Verse, and its sequel which was newly released in theatres, Across the Spider-Verse, among other examples as well, but for this film in particular, the usage of different frame rates was intentional. In this article, how different frame rates are utilized in different forms of animation are studied by analyzing different existing examples that have been published for the general audience in movie theatres, online streaming and television, as well as exploring the function of different frame rates and the effect that they have towards the audience’s psychology as well as in the context of storytelling when it comes to presenting their characters’ personality and background.
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Dissertations / Theses on the topic "Frame-by-frame animation"

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HUANG, HUI-CHUN, and 黃惠君. "Action research of intergenerational learning through frame-by-frame animation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7zbw23.

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碩士<br>國立高雄師範大學<br>成人教育研究所<br>105<br>This research is using the frame-by-frame animation intergenerational learning project, to observe the grandparents and their grandchildren's interaction and the effect of learning. The volunteers of this research are 3 pairs of grandparents-grandchild from an elementary school of first grade in eastern Tainan. There are four steps of this research, which are scripts writing, paper clay making, frame-by-frame videotaping and voicing, and filming editing. During those steps, the research analysed teacher’s teaching logs, interviews records with those volunteers, observation logs among teachers, and films. The research indicates that via interaction and with rational communication, it will enhance the relationship between the generations. Living experience would pass by generations and the elder would gain personal confidence through this learning resolution. With conversation, discussion, and learning from each other to complete the mission, would increase the learning efficiency.
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Books on the topic "Frame-by-frame animation"

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2019.

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2019.

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2019.

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2019.

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2019.

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Rall, Hannes. Adaptation for Animation: Transforming Literature Frame by Frame. Taylor & Francis Group, 2017.

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Stopmotion Animation Frame By Frame Filmmaking With Puppets And Models. Bloomsbury Publishing PLC, 2014.

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Gasek, Tom. Frame by Frame Stop Motion: NonTraditional Approaches to Stop Motion Animation. CRC Press LLC, 2013.

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Gasek, Tom. Frame by Frame Stop Motion: NonTraditional Approaches to Stop Motion Animation. CRC Press LLC, 2013.

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Frame-By-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques. Taylor & Francis Group, 2017.

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Book chapters on the topic "Frame-by-frame animation"

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Rosson, Allan S. "Frame by Frame Animation." In Foundation Flash Cartoon Animation. Apress, 2007. http://dx.doi.org/10.1007/978-1-4302-0481-7_6.

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Gowanlock, Jordan. "Animating Management." In Palgrave Animation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_5.

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AbstractThis chapter studies how the management theory of digital animation studios like Pixar Animation has been influenced by the paradigms that premise their unpredictable algorithmic animations. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters. This collapse of technology, animation, and management science helps to sculpt Pixar’s own corporate image as both an animation studio and a technology company. These findings nuance existing accounts of post-Fordist labor in creative industries.
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"1. Animation and Montage; or, Photographic Records of Documents." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1525/9780520972773-006.

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"1. Animation and Montage; or, Photographic Records of Documents." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1515/9780520972773-006.

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"2. A View of the World: Toward a Photographic Theory of Cel Animation." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1525/9780520972773-007.

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"3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1525/9780520972773-008.

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"3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1515/9780520972773-008.

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"2. A View of the World: Toward a Photographic Theory of Cel Animation." In Frame by Frame. University of California Press, 2019. http://dx.doi.org/10.1515/9780520972773-007.

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"Animation and Montage: Or, Photographic Records of Documents." In Frame by Frame: A Materialist Aesthetics of Animated Cartoons. University of California Press, 2019. http://dx.doi.org/10.1525/luminos.65.b.

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"A View of the World: Toward a Photographic Theory of Cel Animation." In Frame by Frame: A Materialist Aesthetics of Animated Cartoons. University of California Press, 2019. http://dx.doi.org/10.1525/luminos.65.c.

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Conference papers on the topic "Frame-by-frame animation"

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Bhuyan, M. K., Chaitanya Narra, and Darsha Sharath Chandra. "Hand gesture animation by key frame extraction." In 2011 IEEE International Conference on Image Information Processing (ICIIP). IEEE, 2011. http://dx.doi.org/10.1109/iciip.2011.6108947.

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Newman, Matthew. "FRAME BY FRAME: The Development and Integration of a Community Stop-motion Animation Area at Mount Holyoke College." In SIGUCCS '25: Proceedings of the 2025 ACM SIGUCCS Annual Conference. ACM, 2025. https://doi.org/10.1145/3675229.3712563.

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Федорова, А. М., and О. В. Петрухина. "ANALYSIS OF MOHO ANIMATION IN COMPARISON WITH SIMILAR VECTOR ANIMATION PROGRAMS." In Мультимедиа: современные тенденции. Crossref, 2025. https://doi.org/10.54874/9785605245759.2024.10.36.

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В статье представлен анализ Moho Animation. Проведено сравнение имеющихся в ней функций с аналогичными технологиями в иных векторных и растровых программах. Разобраны следующие особенности: «Витрувианский человек», адаптацию векторных линий под покадровую и ключевую анимацию (например, возможность менять стиль линии), 3D-анимация. Выявлено, что Moho Animation успешно сочетает в себе как уникальные механики, так и уже известные, которые ранее требовали использования дополнительных скриптов или плагинов. This article analyzes Moho Animation, comparing its features with similar technologies in other vector and raster programs. Key aspects examined include the Vitruvian Man, vector line adaptation for frame-by-frame and keyframe animation — specifically, the ability to modify line styles — and 3D animation capabilities. The findings reveal that Moho Animation effectively integrates both innovative and established mechanics that previously required additional scripts or plugins.
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Znamenskaya, Irina, Nikolay Sysoev, and Igor Doroshchenko. "Experimental Digital Animation in Fluid Dynamics." In 31th International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/graphicon-2021-3027-235-240.

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Digital imaging became one of the main tools for studying unsteady flows. Modern high-speed cameras support video recording at high frame rates which makes it possible to study extended high-speed processes. We demonstrate here different animations: water temperature field evolution with a frame rate of 115 Hz; high-speed shadowgraph visualisation of different flows - water jet formation process (100 000 frames / s), shadowgraph animations of the shock waves created by the pulsed discharges (124 000 frames / s). Also, as an example of plasma flow visualization technique, we offer 9 sequential images of the shock wave - pulse gas discharge visualization obtained by the high-speed CCD camera with the 100 ns delay between frames. We developed in-house software based on the machine vision and learning techniques for automatic flow animations processing. The examples of the automatic oblique shock detection using Canny edge detection and Hough transform and thermal plume detection based on the pre-trained convolutional neural network are provided and discussed.
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Ravani, Reza, and Ali Meghdari. "Robot Trajectory Planning Using Rational Frenet-Serret Curves." In ASME 7th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2004. http://dx.doi.org/10.1115/esda2004-58410.

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The aim of this paper is to demonstrate that the techniques of Computer Aided Geometric Design such as spatial rational curves and surfaces could be applied to Kinematics, Computer Animation and Robotics. For this purpose we represent a method which utilizes a special class of rational curves called Rational Frenet-Serret (RF) [8] curves for robot trajectory planning. RF curves distinguished by the property that the motion of their Frenet-Serret frame is rational. We describe an algorithm for interpolation of positions by a rational Frenet-Serret motion. Further more we provide an analysis on spatial frames (Frenet-Serret frame and Rotation Minimizing frame) for smooth robot arm motion and investigate their applications in sweep surface modeling.
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Zhang, Yawen. "Optimization of the Animation Production Process utilizing Game Engine." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003708.

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With the increasing demands of audiences, animated films are required to achieve higher quality. The traditional production process frame has an extreme slow development since the advent of the first 3D animated film in 1995, which leads to a continuously increasing requirement of both human labor and hardware. Nowadays, with the optimization and iteration of game engines, their application in animation has become more and more extensive. Utilizing game engines to optimize the traditional pipeline is a feasible approach, not only for industry, but for education field and independent artists. This paper elaborated the three processes: Pre-production, Production and Post-production, through comparative analysis of the pipeline of traditional 3D animation films and the engine 3D animation films with representative practical works. The study shows that game engines provided a revolutionary way in all these stages of animation production, more than 50% of detailed processes are remarkably simplified. This work described optimizations in different phases, generalized this pipeline systematically, then discussed challenges and opportunities of this innovation. The results of this study could be adopted by creators, especially independent artists to product animated films with relatively lower costs and higher flexibility.
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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.

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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.
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Nogueira, João Vitor Santiago, and Leonardo de Oliveira Carvalho. "Animation Frame Colorization with GANs." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/sibgrapi.est.2023.27465.

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This research paper presents an innovative approach to alleviate the labor-intensive nature of traditional 2D handmade animation utilizing artificial intelligence techniques. Specifically, we focus on refining the process of image colorization for 2D animations by employing Generative Adversarial Networks (GANs). The proposed method involves leveraging the power of GANs to paint a sequence of black and white frames in a manner that emulates the colors present in a single colored example.
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Evjenth, Andreas, Otto Andreas Moe, Iselin Violet Kjelland Schøn, and Thomas J. Impelluso. "A Dynamic Model for Motion of an ROV due to On-Board Robotics." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70110.

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A new method in dynamics — the Moving Frame Method (MFM) — is used to conduct the analysis of how a robotic appendage (manipulator) on a Remotely Operated Vehicle (ROV) affects the motion of the ROV. An ROV performs multiple tasks on the seabed in the oil service industry. In most cases, an ROV pilot monitors and adjusts the movement of the vehicle due to induced motion by currents, buoyancy and the manipulators. Simulation data would assist the pilot and improve the stability of the ROV. This paper exploits a new method to analyze the induced movements of the ROV. The method uses the Special Euclidean Group (SE(3)) and the MFM. The method is supplemented with a restricted variation on the angular velocity to extract the equations of motion for the ROV. Then the equations of motion are solved numerically using Runge-Kutta Method and a reconstruction formula (founded upon the Cayley-Hamilton theorem) to secure the 3D rotations of the vehicle. The resulting motion is visualized with selected 2D plots. The 3D animation is displayed on a 3D web page. This paper closes with a summary of the simplifications used in the model and suggestions for advanced work.
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Lekić, Romana, Branimir Blajić, and Tena Franjić. "INTERPRETATION OF MYTHICAL LANDSCAPE AND HOLY GEOGRAPHY IN CREATIVE CULTURAL TOURISM." In Tourism in Southern and Eastern Europe. University of Rijeka, Faculty of Tourism and Hospitality Management, 2017. http://dx.doi.org/10.20867/tosee.04.1.

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This paper presents a scientific analysis of the topic of interpretation of intangible heritage in tourism – through the myth of the arrival of the Slavs. By planned design, myth becomes a real tourist attraction. Embarking from the postulates of the paper, we try to explain the importance of the local community for the interpretation of the intangible heritage and of establishing a sustainable system of its interpretation. The paper makes an effort to emphasize and prove the exceptional relevance of animation for the shaping and developing of a tourist product. Interdisciplinary features of the paper impose the use of recent sources from a variety of scientific fields and disciplines (archaeology, anthropology, phylology, cultural creative tourism, economy of experience). This entire paper has features of a scientific review which mostly uses desk method and deconstruction analysis aimed at intangible heritage and interpretative capacities in animation, within the economy of experience. The process of interpretation, which includes recognition and shaping or 'packaging', converts the myth into a tourist product. This packaging is not a mere cosmetic process which would help improve the product or simplify it. Interpretation is actually the essence, or the basic content of the product, which is sold in order to enrich the tourist offer by traditional elements which, in a large measure, form base of the national and regional identity. The contribution of this paper is the animation model for the interpretation of intangible heritage in a tourist destination of cultural tourism, which gives guidelines for the interpretation and formulation of intangible heritage for tourist purposes at a more subtle and higher level, outside the hitherto known frame of predictable and familiar processes.This model indicates the way to interpret the myth and to recognize and register its particular parts through the system, in the space, as local, regional and national attraction, which is illustrated by the example of 'holy geography'. A special contribution is in the change of paradigm, where it is shown that a tourist area can be interpreted in a novel, original way, as a spiritual resource for tourists visiting the area, and for the local population.
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Reports on the topic "Frame-by-frame animation"

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SEISMIC COLLAPSE AND DEBRIS DISTRIBUTION OF STEEL FRAME STRUCTURES WITH INFILL WALLS. The Hong Kong Institute of Steel Construction, 2022. http://dx.doi.org/10.18057/icass2020.p.315.

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Urban buildings will collapse when subjected to extreme earthquake. Debris caused by collapse can block roads, hinder rescue and increase casualties. Therefore, predicting the collapsed debris scope makes sense for earthquake damage estimation and urban disaster reduction. To solve the problem of element disappearance in the finite element method, the animation simulation technology is introduced in this study. The complete collapse process of steel frame structures with infill walls characterized by different height-width ratios and length-width ratios is simulated, and the distribution of collapsed debris is analyzed. The results indicate that the proposed method can completely reproduce the collapse process and collapsed debris distribution of the steel frames. Besides, the contribution of infill walls significantly expands the collapsed debris scope. Last, considering the length-width ratios and height-width ratios of the buildings, a prediction method of collapsed debris blocked area of steel frame is proposed.
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