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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. -
A Unified Platform for Big Trajectory Data Management and Analytics
UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan. -
Stop-Motion Animation an Introduction What Is Animation?
Stop-motion Animation An Introduction What is Animation? In its simplest form, animation is essentially making something that doesn’t move (inanimate) look like it is moving (animate). This can be done through repeated drawings or paintings (traditional 2D), using puppets or clay (stop-motion) and using computer programmes and software (CG and 3D). All of these methods have one aim in mind: to create ‘the illusion of life’. Key Resource: The Evolution of Animation The following video shows how animation has evolved from it’s very first days using contraptions like the ‘Zoetrope’. Whilst you watch these clips, think about the different types of animation used. How many of these films do you recognise? The Evolution of Animation 1833-2017 https://www.youtube.com/watch?v=z6TOQzCDO7Y Many older animations are available to watch on Youtube, such as ‘Gertie the Dinosaur’ and ‘Felix the Cat’, and it’s important to appreciate these as being the roots of modern animation. Younger Animators might also get a kick out of watching some classic ‘Looney Tunes’ cartoons. What is movement? A movement is when something goes from point A to point B in a certain amount of time. The amount of time it takes dictates how fast that movement is. In other words, if something goes from point A to B in a short amount of time then it is a fast movement, and if it takes a long time then it is a slow movement. Experiment: Try out some actions like waving, spinning in a circle and walking all at different speeds. -
2014 Annual Report to the Hawai‘I Legislature
2014 Annual Report to the Hawai‘i Legislature Table of Contents Letter from the Hawai‘i Tourism Authority ......................................................... 2–3 Board of Directors and HTA Staff .............................................................................. 4 Overview of the HTA and Operations ....................................................................... 5 Annual Work Cycle ....................................................................................................... 6 HTA Strategic Plan: Summary and Progress ........................................................... 7 HTA Measures of Effectiveness .............................................................................. 8–9 HTA Strategic Plan Update .........................................................................................10 HTA Brand Management ............................................................................................11 HTA Program Execution .............................................................................................12 Maintaining the Brand ................................................................................................13 Hawaiian Culture....................................................................................................14 Natural Resources .................................................................................................15 Career Development.............................................................................................. 16 Safety -
Campus Press April May 2019 Online Edition
C_ P7 C773: “Striving to Report the News Accurately, Fairly and Fully” TheTheThe Campus Press Student Newspaper of Camden County College www.camdencc.edu Volume 33, Issue 3 April/May 2019 THE EXPLORATION : Hundreds of Potential Students and Their Families Attend O Congratulations to the Class Open House on Saturday, April 6 to Receive Information museums, stores, and most importantly, about Admission and to Tour Blackwood Campus schools and colleges. of 2019...Plus An Early View making sure that the environment and all of of the U.S. Presidential Race us are safe: Public Safety Officers. We, as a college community, know the various hats By Louis Childs-O’Dowd that Public Safety wear: they take our Campus Press Managing Editor and Columnist pictures for our ID badges, keep everyone ’d like to start this column off with a safe, are ambassadors, help college congratulations to all the students who personnel and students with various needs, I managed to survive this year. I know for me, directions, parking, and placards. these last two semesters have been a true test of my commitment to actually finishing my degree. Public Safety Officer Came to the Aid So far it seems I passed that test, and I hope everyone else was able to as well. To the people things that they do. But did you know that graduating this semester, I’d like to congratulate they also help with lockouts of cars, and you, but to be honest, I’m jealous! You’re making dead batteries (or at least keep people warm large strides towards accomplishing your goals, while they wait for help and provide a and I find that to be enviable. -
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar -
The Power of Storytelling
The Power of Storytelling Using a story to create a coherent experience from conception to execution FIRST®STEAMWORKSSM invites two adventurers’ clubs, in an era where steam power reigns, to prepare their airships for a long distance race. Each three-team alliance prepares in three ways: 1. Build steam pressure. Robots collect fuel (balls) and score it in their boiler via high and low efficiency goals. Boilers turn fuel into steam pressure which is stored in the steam tank on their airship – but it takes more fuel in the low efficiency goal to build steam than the high efficiency goal. 2. Start rotors. Robots deliver gears to pilots on their airship for installation. Once the gear train is complete, they turn the crank to start the rotor. 3. Prepare for flight. Robots must latch on to their airship before launch (the end of the match) by ascending their The Story of FIRST ropesto signal that they’re ready for Steamworks takeoff. Game Manual Fonts and Images • Header used steamworks inspired images • Color palette was pulled from logo colors • Font was selected from Steampunk artwork* *Shout out to Hananiah Wilson and FRC Team 4534, the Wired Wizards, from Wilmington, NC, USA for creating an amazing style guide that we used. Field Design: Airships The story said airships, but what did they look like? • Simulate flight • Large enough for human players • Interactive for human players and robots • Game piece transfer from robot to making the airship function Concept art for possible airship designs Field Design: Airships Gear implementation concept art Concept art for gear implementation. -
Arjun: the Warrior Prince Invades Bollywood and Hollywood Visual Computing Labs Delivers Its Second Animated Feature Film In
Tata Elxsi-VCL Arjun: The Warrior Prince Invades www.tataelxsi.com/vcl Bollywood and Hollywood Mumbai, India Visual Computing Labs delivers its Autodesk® Maya® software Autodesk® 3ds Max® software second animated feature film in record Autodesk® Flame® software time using Autodesk® Maya® “From the very beginning, our ambition with Arjun: The Warrior Prince was to create a work of art that would visually transcend other animated Bollywood films created to date. The nature of the story calls for several challenging action scenes that feature breathtaking backdrops, chariot races and battle sequences. To make those appear rich and hyper- real, we relied heavily on Maya; it was our first choice and a natural fit Image courtesy of Tata Elxsi-VCL for the job – giving us all Summary between Walt Disney Animation Studios and UTV Founded in 2001, Visual Computing Labs (VCL) Pictures, Arjun: The Warrior Prince was released of the tools necessary is the visual effects and gaming arm of Tata Elxsi in movie theatres on May 25, 2012. Directed by to deliver the lush, Ltd., part of the multibillion-dollar Tata Group, Arnab Chaudhuri, the film features the vocal talents dynamic backgrounds and and a leading Indian animation and visual effects of Yudhveer Bakolia, Anjan Srivastava, Sachin powerhouse. Over the last 11 years, VCL has Khedekar, Ila Arun and Hemant Mahaur. characters that carry the contributed effects to a number of award-winning story.” films, TV programs and commercials. Operating out The Challenge of two offices, the company has studios in Santa Arjun: The Warrior Prince is an animated —Vishal Anand Monica, California and Mumbai — both supported mythological action film that recounts the untold by teams of phenomenally talented artists. -
The Animation
The Animation Welcome to the eight issue of our Multimedia Fusion tutorials. This issue will discuss how the Fusion runtime handle sprites animations. All the content of this tutorial is applicable to Click & Create and The Games Factory. Animations and directions in runtime. Fusion's runtime does its best to match the animation with the movement of the character. It does this job at three different levels : Animation Direction Speed For example, if a character is moving slowly to the right, then it will prefer the Walking animation, in the East (0) direction, and it will adapt the speed of the animation to the speed of the movement. Most of the times, the author of the application does not draw all the animations, or all the 32 directions. When this is the case, Fusion has to approximate and find the best animation and direction possible. Matching the animation. If the exact animation is defined, then Fusion will use it. If this animation is not available, then Fusion will revert to the closest animation possible. If this one is not available, to the stopped animation. If the stopped animation is not available, then to the first available animation... Fusion only does this process of animation approximation with the default animations, numbered 0 to 11. The following list describes the correspondance between the action of the sprite and the animation chosen in order of preference... Static : stopped, appearing, walking, running, any available. Moving at speed below 80 :: walking, running, stopped, any available Moving at speed above -
Ray X X-Rayer #131 January 30, 2017
Ray X X-Rayer #131 January 30, 2017 [email protected] http://x-rayer.com Ultra Q – Episode 27: The Disappearance of Flight 206 XR #131 Page 1 TAFFy Pull: Nominee John Purcell Draws In the Votes Welcome to SF fan alphabet soup. TAFF. CUFF. DUFF. GUFF. All three organizations raise funds so that science fiction fans can travel to conventions in other parts of the world. Three candidates are vying to win TAFF, Trans-Atlantic Fan Fund.* The TAFF 2017 Ballot explains: "TAFF has regularly brought North American fans to European conventions and European fans to North American conventions. It exists solely through the support of fandom." This year it's North America to Europe. Fanzine editor and 2017 TAFF nominee John Purcell took the time to explain how TAFF works. John is a Minnesotan transplanted to Texas. His day job: instructor at Blinn Community College. Hobbies: Besides SF fandom there's music, playing guitar. He publishes two fanzines with easily confused titles, Askew and Askance. (I know after writing a letter of comment to the wrong zine.) He explained a fan declares the intention to run for TAFF and then needs to line up other fans to nominate that fan. John: "TAFF requires a total of five nominators (two from the destination continent, three from the sending continent) to send in their nominating statements to the current TAFF Administrators." XR #131 Page 2 "Once the requirements are met," he continued, "the administrators then announce that the race is on and open it for any fan to vote until the deadline [this year March 4.]" A TAFF nominee can campaign through fanzines. -
Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil. -
“Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd
(Translation) April 24, 2018 To all parties concerned: FIELDS CORPORATION President and COO: Tetsuya Shigematsu (TSE 1st: 2767) Inquiries: Hideaki Hatanaka Corporate Officer; General Manager, Corporate Communications Office Tel.: +81-3-5784-2111 Notice of Winning Judgment In U.S. Lawsuit Regarding “Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd. FIELDS CORPORATION announces that in the copyright-related lawsuit that took place in the United States between our consolidated subsidiary Tsuburaya Productions Co., Ltd. (“TPC”) and UM Corporation (“UMC”), the United States District Court, Central District of California, entered a final judgment on April 18, 2018 affirming the entire claim of TPC, including that the supposed agreement dated March 4, 1976, claimed by UMC as the basis for its alleged rights in “Ultraman,” was not an authentic contract. In addition to confirming that TPC possesses all the rights to develop and expand any audio-visual or other creative works or products based on “Ultraman” characters or stories, the judgment required UMC to pay damages for its infringement of TPC’s rights as per the attached document. The impact of those damages upon the forecast consolidated results for the fiscal year ended March 31, 2018 will be insignificant and we are now examining the impact on the consolidated results for the fiscal year ending March 31, 2019. Following the results of the above lawsuit, TPC will promote active overseas development of “Ultraman” works in the future as a result of above lawsuit. For inquiries or further information please contact Corporate Communications Office, FIELDS CORPORATION Shibuya Garden Tower, 16-17 Nampeidai-cho, Shibuya-ku, Tokyo 150-0036 Tel.: +81-3-5784-2109 Fax: +81-3-5784-2119 April 24, 2018 Tsuburaya Productions Co., Ltd.