Animation - Motion Studies
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Supporting Candidates Learning from Home to Prepare for Computer-Based Practical Tests
Supporting candidates learning from home to prepare for computer-based practical tests Supporting candidates learning from home to prepare for the practical tests in Cambridge IGCSE ICT (0417), Cambridge IGCSE (9–1) ICT (0983) and Cambridge International A Level IT (9626) We understand that many centres and candidates are facing challenging times, and that some centres are having to teach practical IT skills remotely. Practical IT skills are a vital part of our IT syllabuses. We assess these skills through formal tests under controlled conditions. To maintain the integrity of the tests, and the value of our qualifications for students, we encourage centres to teach the full syllabus content, whether remotely or face to face. There are currently no adaptations to the practical skills requirements for March or June 2021. However, we understand that candidates do not always have access to proprietary (non-free) software that is licensed through their centre. This may be a significant barrier to candidates practising practical IT skills at home. Using the centre’s licensed software Where candidates are learning remotely, we recommend that you first check your software licences to see if they If your school currently uses proprietary software, you allow candidates to use the software on their home may find that one of the free/open source alternatives computers. Some centres have academic licences that allow listed in the tables on this factsheet allows candidates to this. Other centres are setting up remote access to their practise their skills at home. If they become more familiar school systems for candidates or loaning out school laptops with this software than the software being used at the to candidates to continue their studies. -
3D Animation)
ΤΕΙ ΗΠΕΙΡΟΥ ΣΧΟΛΗ ΤΕΧΝΟΛΟΓΙΚΩΝ ΕΦΑΡΜΟΓΩΝ ΤΜΗΜΑ ΜΗΧΑΝΙΚΩΝ ΠΛΗΡΟΦΟΡΙΚΗΣ Τ.Ε. ΠΤΥΧΙΑΚΗ ΕΡΓΑΣΙΑ ΘΕΜΑ: ΔΗΜΙΟΥΡΓΙΑ 3D ΕΚΠΑΙΔΕΥΤΙΚΟΥ ANIMATION VIDEO ΜΕ ΤΗ ΧΡΗΣΗ ΤΗΣ ΕΦΑΡΜΟΓΗΣ MUVIZU Φοιτητής: Μπεκρής Γεώργιος 13619 Εισηγητής: Στεργίου Ελευθέριος ΑΡΤΑ 2015 Περιεχόμενα Περίληψη........................................................................................................................................... 6 Abstract ............................................................................................................................................. 6 Εισαγωγή ........................................................................................................................................... 7 Κεφάλαιο 1: Animation - Τύποι Animation ...................................................................................... 8 1.1. Animation ................................................................................................................................... 8 1.2. Τύποι animation ......................................................................................................................... 8 1.2.1. Animation δύο διαστάσεων ................................................................................................. 8 1.2.2. Προγράμματα 2D animation ............................................................................................... 9 1.2.3. Animation τριών διαστάσεων (3D animation) .................................................................. 12 1.2.4. Προγράμματα 3D animation ............................................................................................ -
Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected]
PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD JULY – AUGUST 2015 US $8.00 Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected] BRIDGEPROPS.COM ® contents The Anatomy of an Anti-Hero 12 Constantine’s darkness doesn’t feel so bad by David Blass, Production Designer Tomorrowland 20 Logos and pins by Clint Schultz, Graphic Designer Comic Con, Pot Fields 28 Designing the world of Ted 2 & a Giant Cake by Stephen Lineweaver, Production Designer Welcome to Nowhere 36 Manhattan in New Mexico by Ruth Ammon, Production Designer Comic Book Art 46 Created by Art Directors Guild members Collected by Patrick Rodriguez, Illustrator 5 EDITORIAL 6 CONTRIBUTORS 8 NEWS ON THE COVER: 58 PRODUCTION DESIGN Director Brad Bird called on Graphic Designer Clint Schultz three different times to develop 60 MEMBERSHIP key logos for Tomorrowland (Scott Chambliss, Production Designer). His last assignment 61 CALENDAR resulted in this fully rendered 3D model of 62 MILESTONES the T pin that is an important prop and story element in the film. It went on to become 64 RESHOOTS central to the studio’s marketing efforts. PERSPECTIVE | JULY/AUGUST 2015 1 PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD July/August 2015 PERSPECTIVE ISSN: 1935-4371, No. 60, © 2015. Published bimonthly by the Art Directors Guild, Local 800, IATSE, 11969 Ventura Blvd., Second Floor, Studio City, CA 91604-2619. Telephone 818 762 9995. Fax 818 762 9997. Periodicals postage paid at North Hollywood, CA, and at other cities. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Free Software Beyond Radical Politics: Negotiations of Creative and Craft Autonomy in Digital Visual Media Production
Free software beyond radical politics: negotiations of creative and craft autonomy in digital visual media production Draft of article under revision. Not to be cited without permission. Version: 15 Jan 2016 Author: Julia Velkova Abstract Free and open source software development, and the technological practices of hackers have been broadly recognized as fundamental for the formation of political cultures and fostering democracy in the digital mediascape. This article seeks to broaden the scope of knowledge about the role of free software for political engagement by discussing its relevance in the practices of other actors, beyond activists and hackers. The study explores its role and uses in the practices of media creators such as free-lancing digital artists, animators and technicians who work in various roles for the contemporary digital visual media industries. Drawing on ethnographically collected material about the media uses of three popular free software tools, Blender for 3D animation and sculpting, Synfig for 2D vector animation and Krita for digital painting, the study shows that free software in the context of media work contexts enables creators to notably extend their sense of creative autonomy, skills and creative expressivity, yet paradoxically this sense does not lead to resistence or critical engagement, but strengthens even more some of the imaginaries and allure that the creative industries have while not responding to some of its major flows such as precarity of labor. Keywords digital visual media, free and open source software, material politics, craft autonomy, media industries 1. Introduction Media practices, such as free and open source software development, and the technological experiments of hackers have been broadly recognized as fundamental for the formation of political cultures and fostering democracy in the digital mediascape. -
Tvpaint Animation 9 Pro Crack
Tvpaint Animation 9 Pro Crack Tvpaint Animation 9 Pro Crack 1 / 4 2 / 4 Houdini is a 3D animation software application developed by Toronto-based SideFX, who ... 4 Rendering; 5 TouchDesigner; 6 Production; 7 See also; 8 References; 9 ... Ajax Animator · Animator Pro · TupiTube · SWFTools · Synfig · OpenToonz ... (Anime Studio) · ParticleIllusion · CrazyTalk · Toon Boom · Toonz · TVPaint. To download serial from the mac app store, you need a mac. Lets go through the ... The bundle identifier for tvp animation 9 pro for mac is fr. Thanks dann petty ... tvpaint animation tvpaint animation, tvpaint animation 11 pro, tvpaint animation free download, tvpaint animation 11 pro free, tvpaint animation 11, tvpaint animation 11 pro free download, tvpaint animation 11 pro crack, tvpaint animation 10 pro free download, tvpaint animation 10 pro crack, tvpaint animation tutorial TVPaint Animation 11 Professional Edition is now available free download fully Cracked, Download TVPaint Animation 11 Pro Crack which lets you animate .... Free Crack Software Download: TVPaint Animation 10 Pro v Cracked ... Tvpaint Animation Pro 10 0 9 torrent download and emule Â Ð ÐµÐ¶Ð¸Ñ 7 1 1 crack · .... Feb 14, 2021 — TVPaint 11 Crack is pro software in digital sketching, drawing, and ... Animation 11.0 Professional Edition Cracked is window 7, 8, 9, 10, Win XP .... Apr 2, 2021 — If I click on "Later" I can use TVPaint.. Sep 9, TVPAINT ANIMATION PRO V9 5 3 BILANGUAGE CRACK FOR XP XFORCE Pro 10 For Mac trail .... TVPAiNT. ANiMATiON 11, 4723 records found, first 100 of them are:Tvpaint Animation Pro 9 5 3 serial key genTvpaint Animation 8. -
Delaware Recommended Curriculum Unit Template
Delaware Recommended Curriculum Unit Template Preface: This unit has been created as a model for teachers in their designing or redesigning of course curricula. It is by no means intended to be inclusive; rather it is meant to be a springboard for a teacher’s thoughts and creativity. The information we have included represents one possibility for developing a unit based on the Delaware content standards and the Understanding by Design framework and philosophy. Subject/Topic Area: Visual Art Grade Level(s): 4 Searchable Key Words: cartoon, animation, cel, storyboard Designed By: Dave Kelleher District: Red Clay Time Frame: Eight 45 minute classes Date: November 18, 2008 Revised: May 2009 Brief Summary of Unit Creating, performing, responding and making connections are learning concepts that are at the core of the Visual and Performing Arts curriculum. This unit will stress the responding concept and the product for responding will be animation. Students will view animated cartoons (non-computer generated) and analyze how multiple uses of “one image”, or cel (short for celluloid- thin sheets of clear plastic that characters are drawn on and then painted), create a story in motion and convey the point/opinion of the animator. Ultimately, focus will center on one individual cel and how it relates to the given point/opinion and, due to its cartoon nature, may/may not effectively convey the opinion (i.e. some people might find it difficult to relate to a serious topic when the character presented is an adorable pink bunny with a bowtie). Because the art world had previously considered animation beneath it, artistic skill and creativity in the creation of characters, emotions, storyline, and backgrounds were often ignored. -
Op E N So U R C E Yea R B O O K 2 0
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Pose-Driven Tween Animation
PoseTween: Pose-driven Tween Animation Jingyuan Liu Hongbo Fu∗ Chiew-Lan Tai Hong Kong University of City University of Hong Kong Hong Kong University of Science and Technology [email protected] Science and Technology Figure 1. We present PoseTween, a system for allowing novice users to easily create pose-driven tween animation of virtual objects. ABSTRACT CCS Concepts Augmenting human action videos with visual effects often •Human-centered computing → Human computer inter requires professional tools and skills. To make this more ac action (HCI); Graphics input devices; User studies; cessible by novice users, existing attempts have focused on automatically adding visual effects to faces and hands, or let INTRODUCTION virtual objects strictly track certain body parts, resulting in Adding visual effects to enhance videos has become popular rigid-looking effects. We present PoseTween, an interactive among ordinary mobile users nowadays. Professional tools for system that allows novice users to easily add vivid virtual adding visual effects, such as Adobe Premiere and Foundry objects with their movement interacting with a moving subject Nuke, typically require trained skills. The advancement of in an input video. Our key idea is to leverage the motion of real-time face detection and tracking technologies has recently the subject to create pose-driven tween animations of virtual enabled various camera mobile apps that support live face objects. With our tool, a user only needs to edit the proper stickers (e.g., Sweet Snap app supports 2800 live stickers and ties of a virtual object with respect to the subject’s movement are being used by over 100 million users). -
Scheme and Syllabus of B. Tech. 3D Animation and Graphics Engineering
IKG PUNJAB TECHNICAL UNIVERSITY Batch 2012 Scheme and Syllabus Of B. Tech. 3D Animation and Graphics Engineering PUNJAB TECHNICAL UNIVERSITY, JALANDHAR Punjab Technical University B.Tech 3D Aninmations & Graphics Third Semester Contact Hours: 32 Hrs. Load Marks Distribution Course Code Course Name Allocation Total Marks Credits L T P Internal External BTCS301 Computer Architecture 3 1 - 40 60 100 4 BTAM302 Engg. Mathematics-III 3 1 - 40 60 100 4 BTCS304 Data Structures 3 1 - 40 60 100 4 BTCS305 Object Oriented 3 1 - 40 60 100 4 Programming using C++ BTAG301 Basics of Animation 3 1 - 40 60 100 4 BTCS306 Data Structures Lab - - 4 30 20 50 2 BTCS307 Institutional Practical - - - 60 40 100 1 Training BTCS309 Object Oriented - - 4 30 20 50 2 Programming using C++ Lab BTAG302 Basics of Animation - - 4 30 20 50 2 Lab B.Tech 3D Aninmations & Graphics Fourth Semester Contact Hours: 32 Hrs. Load Marks Distribution Course Code Course Name Allocation Total Credits L T P Internal External Marks BTAG 401 Fundamentals of 3 1 - 40 60 100 4 Preproduction BTAG 402 Multimedia Technologies 3 1 - 40 60 100 4 BTAG 403 Multimedia Networks 3 1 - 40 60 100 4 BTCS 504 Computer Graphics 3 1 - 40 60 100 4 BTAG 404 Multimedia Devices 3 1 - 40 60 100 4 BTAG 405 Preproduction Workshop - - 4 30 20 50 2 BTCS 509 Computer Graphics Lab - - 2 30 20 50 1 BTAG 406 Animation lab-II - - 4 30 20 50 2 BTAG 407 Network Lab - - 2 30 20 50 1 General Fitness - - - 100 - 100 - Total 15 5 12 420 380 800 26 PUNJAB TECHNICAL UNIVERSITY, JALANDHAR B.Tech 3D Aninmations & Graphics Fifth Semester Contact Hours: 30 Hrs. -
Syllabus for the Bachelor in Animation
UNIVERSITYU OF MUMBAI’S GARWARE INSTITUTE OF CAREER EDUCATION & DEVELOPMENT Syllabus for the Bachelor in Animation Credit Based Semester and Grading System with effect from the Academic Year (2017-2018) AC 11-05-2017 Item No. UNIVERSITYU OF MUMBAI’S SyllabusU for Approval Sr. No. Heading Particulars 1 Title of the Course Bachelor in Animation 10+2 pass – with minimum 45% 2 Eligibility for Admission marks Admissions on the basis of Written Test & Interview. 3 Passing Marks 50% passing marks Ordinances / 4 Regulations ( if any) 5 No. of Years / Semesters Three years full time/ 6 semester 6 Level Bachelor 7 Pattern Yearly / semester New 8 Status To be implemented from 9 From academic year 2017-18 Academic Year Date: 11/05/2017 Signature : Dr. Anil Karnik, I/C. Director, Garware Institute of Career Education & Development INTRODUCTIONU A sequence of images creates an illusion of a moving object is termed as Animation. India is one of the most preferred outsourcing countries. We not only do outsourcing services, we are also a creator of original animation. Some of the popular original contents are Chota bheem, Little Krishna, Delhi Safari, Arjun, Road side Romeo etc. Animation is a combination of entertainment and technology. It is composed of design, drawing, layout and production of graphically rich multimedia clips. Time and space are important in animation. Those who excel in drawing and creativity can choose animation as their career. An animator’s job is to analyze the script thoroughly and get into the skin of the character. Creating idea, storyboard, Character design, backgrounds, etc and using technical methodology to create stunning visuals short movies is the ideal steps in making a successful animation feature. -
Open Source Design Software Overview
SEGD.org Open Source Design Software prepared by Chad Eby Herron School of Art + Design at IUPUI SEGD Academic Task Force SEGD Training Module Training SEGD Introduction to EGD Overview What is Open Source? Free and open source software (sometimes called FOSS) tools are developed “in the open” so that anyone may inspect an application’s source code—the underlying set of instructions that make the application work—that is hidden by design in proprietary tools. Not only is the source code visible, it is generally permissible to use, re- distribute and modify without restriction. This makes it free (as in freedom). As a side effect, many open source software tools are also free (as in beer), meaning image credit they are usable at no cost. Photo by Marc Mueller from Pexels Open Source Design Software Overview Why Use Open Source? An open source design software tool may be attractive to individuals and organizations due to the transparent nature of its development, the lack of restrictions on distribution and use, the suitability for a niche purpose too small for commercial viability, the low cost/no cost aspect or some combination of these factors. As good as open source tools may seem at first blush, there are some caveats. FOSS projects, especially in the early stages, may have sporadic development cycles and are sometimes abandoned entirely. Even in projects that are actively developed and well established, the documentation for the tool may lag well behind the latest released version. Finally, since some FOSS tools are passion projects of individuals or small teams, the software user interface may be quite eccentric.