Flip Book Animation a Flipbook Is an Early Form Of… Animation History of Animation
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Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
Usage of 12 Animation Principles in the Wayang
USAGE OF 12 ANIMATION PRINCIPLES IN THE WAYANG KULIT PERFORMANCES Ming-Hsin Tsai #1, Andi Tenri Elle Hapsari *2, # Asia University, Taichung – Taiwan http://www.asia.edu.tw 1 [email protected] * Department of Digital Media Design Faculty of Creative Design 2 [email protected] Abstrak— Wayang kulit merupakan salah satu animasi tertua, animation principles will be used in this paper and further namun hingga kini belum ada penulisan lebih lanjut yang discussed in the following section. membahas tentang hubungan animasi dengan wayang kulit itu Wayang Kulit is the Indonesian shadow puppet theatre, sendiri. Dengan demikian, tulisan ini bertujuan untuk which already been acknowledge in worldwide organization memperlihatkan hubungan antara animasi yang kita kenal saat about The Masterpieces of the Oral and Intangible Heritage of ini dengan pertunjukan wayang kulit, menggunakan 12 prinsip dasar dari animasi sehingga terlihat persamaan penggunaan Humanity. It was a list maintained by UNESCO with pieces teknik yang ada dalam hubungannya dengan proses yang of intangible culture considered relevant by that organization. lainnya. The goal of this paper is to take a closer look at 12 principle of animation used in wayang kulit performances. The animation principles designed by Disney animators Kata kunci— Teknik animasi, 12 prinsip animasi, wayang kulit themselves, will act as guidelines to test the quality of Abstract— Wayang Kulit has been known as one of the oldest animation used in wayang kulit performances techniques, by animation; however, there is no definitive methodology that analyzing the use of the 12 traditional animation principles in supports the development process of these animation performances it. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Adam Levine's Pre-Marital Love Life: Anne V, Behati Prinsloo Levine, and Their 5 Element Types
Adam Levine's Pre-Marital Love Life: Anne V, Behati Prinsloo Levine, and their 5 Element Types Lindsey Seigle Slott, L.Ac. Adam Levine's Pre-Marital Love Life: Anne V, Behati Prinsloo Levine, and their 5 Element Types Adam Levine, like most singer-songwriters, is predominantly a FIRE type — charismatic, creative, and loves being in the spotlight. His good looks, talent, and passion made him a favorite among the ladies when he was single, but in his last few years of bachelorhood, we saw him slow down just a little. His last ex-girlfriend, supermodel Anne V, captivated his heart and soul for about 2 years, although their relationship wasn’t always smooth sailing. They reportedly had a publicized ght back in early 2012 over her not feeling appreciated, and she broke up with him later that year because she felt he did not give her enough attention, and because he did NOT have any plans to propose marriage. After Anne V broke up with him, he dated future wife model Behati Prinsloo, then had a brief relationship with model Nina Agdal, and then eventually proposed to Behati. All 3 of these women are drop-dead gorgeous and highly respected, successful models, so what made him choose Behati and why has their marriage lasted over 2 years? Let’s take a step back and look at the 5 elements at play. First you have Adam, a FIRE type. Then you have Anne V. What type is she? Based on how she became a model, I’d say she is a WOOD type. -
Maroon-5-Songs-About-Jane-Книга.Pdf
SONGSABOUTJANE ONEHARDER TO BREATHEZ TWOTHIS LOVEa THREESHIVER ts FOURSHE WILL BE LOVEDre FIVETANGLED z+ SIXTHE SUN so SEVENMUST GET OUT so EIGHTSUNDAY MORNING +z NINESEGRET aa TENTHROUGH WITH YOU oo ELEVENNOT COMING HOME s+ TWELVESWEETEST GOODBYE OZ : :ï:: '..'' ,' ':.:..,::.:;;'.\ '-.'.,.".1 ,.-.r,1-::-;''-,--é THIS PUBLICATIONIS NOT AUÍHORISEDFOFI SALE IN THE UNITED STATESOF AIíEFICA AND /OB CANADA WISEPUBLICATIONS PABTOF THE MUSICSALES GROUP LONDON/NEWYOFK/ PABIS/ SYONÊY/COPENHAGEN / BERLIN/ À4ADRID/TOKYO HARDERTO BREATHE WORDS& MUSICBY ADAM LEVINE, JAMES VALENTINE, JESSECARMICHAEL, MICKEY MADDEN & RYANDUSICK ^N (-nm )=uq t:.:]D tHul How dare you say that my be - ha - viour's un - ac - cep - ta - ble. Drums cri-ti-cal. I have the ten - dan - cy of 'cause get- ting ve-ry phy-si- cal. So watch your step if I do you'll need a mi - ra - cle. @ COPYRIGHÍ2OO2 BI\iIG N,USIC PUBLISHING LII\,IITED. ALL RIGHTSRESERVED. INTERNAÍIONAL COPYRIGHT SECURED. I I - - was You drain me dry and make me won - der why I'm ev - en here The dou ble vi sion I - ter nev- What you are do - ing is screw - ing things up in - side my head' Youshould know bet You l'' l)' +! - I want you gone. see - ing is fi - nal - lY clear. You want to stay but You know ve ry well - swear. -er lis - ten to a word I saY. Clutch-ing your pil - low and writh-ing in a na ked - Not fit to funk - in' tread the gÍoundthat I am walk ing on. 1 And when it gets cold- Hop - ing some- bo - dy some- daY would do you like I did l -* B t' 1r |m t**lll out - side- love,- 3 L-m, # you'll un - der - stand what I mear- when say- there's no -tt ^It B fn ( ím, (rí t:H tI:]E4F {:]:@46 l+#.t # F++H] ffl.Hl - we're gon - na give up.- And like a lit - tle girl cries- -* B tÍ ttl fu ffi in the face of a mon - ster that lives- in her dreams.- 'cause it's get - ting hard - 4 To Coda & L.m D5 C'5 Êd n. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
Moves Like Jagger Ft. Christina Aguilera – Maroon 5
iSing.pl - Każdy może śpiewać! Moves like Jagger ft. Christina Aguilera – Maroon 5 Oh! Oh! Just shoot for the stars If it feels right Then aim for my heart If you feel like And take me away And make it okay I swear I’ll behave You wanted control So we waited I put on a show Now I make it You say I’m a kid My ego is big I don’t give a shit! And it goes like this Take me by the tongue And I’ll know you Kiss me ‘til you’re drunk And I’ll show you All the moves like Jagger I’ve got the moves like Jagger I’ve got the moves like Jagger I don’t need to try to control you Look into my eyes And I’ll own you With the moves like Jagger I’ve got the moves like Jagger I’ve got the moves like Jagger Maybe it’s hard When you feel like You’re broken and scarred Nothing feels right But when you’re with me I’ll make you believe That I’ve got the key Oh! So get in the car We can ride it Wherever you want Get inside it And you want to steer But I’m shifting gears I’ll take it from here Oh yeah, yeah! And it goes like this Take me by the tongue And I’ll know you Kiss me ‘til you’re drunk And I’ll show you All the moves like Jagger I’ve got the moves like Jagger I’ve got the moves like Jagger I don’t need to try to control you Look into my eyes And I’ll own you With the moves like Jagger I’ve got the moves like Jagger I’ve got the moves like Jagger [Christina] You wanna know How to make me smile Take control Own me just for the night And if I share my secret You’re gonna have to keep it Nobody else can see this So watch and learn I won’t show you twice Head