The Society for Animation Studies Newsletter ISSN: 1930-191X
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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. -
From Pencil to Mouse: the 21St Century Animation House
From Pencil to Mouse: the 21st Century Animation House Author Baker, Kelvin Published 2008 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/169 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366780 Griffith Research Online https://research-repository.griffith.edu.au FROM PENCIL TO MOUSE: THE 21ST CENTURY ANIMATION HOUSE KELVIN BAKER Griffith University Queensland College of Art and The Centre for Learning Research Submitted as part fulfilment of the requirements of the degree of Doctor of Visual Arts June 2007 From Pencil To Mouse: The 21st Century Animation House From Pencil To Mouse: The 21st Century Animation House Statement of Originality This work has not previously been submitted for a degree or diploma in any University. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Kelvin Baker 2007 i From Pencil To Mouse: The 21st Century Animation House ii From Pencil To Mouse: The 21st Century Animation House Abstract The fast pace of change within the animation, computer game and post production industries has presented a problem for Vocational Education and Training (VET) programme developers who are finding it increasingly difficult to stay relevant and up- to-date with the latest employability skill-sets in this industry sector. A comprehensive study of the Australian digital media industry - including the latest systems, software, technologies and production pipelines - is not readily available, making it difficult for Training Package developers to create up-to-date, flexible, meaningful and transferable qualifications. -
Animation Is a Process Where Characters Or Objects Are Created As Moving Images
3D animation is a process where characters or objects are created as moving images. Rather than traditional flat or 2d characters, these 3D animation images give the impression of being able to move around characters and observe them from all angles, just like real life. 3D animation technology is relatively new and if done by hand would take thousands of hours to complete one short section of moving film. The employment of computers and software has simplified and accelerated the 3D animation process. As a result, the number of 3D animators as well as the use of 3D animation technology has increased. What will I learn in a 3D animation program? Your 3D animation program course content depends largely upon the 3D animation program in which you enroll. Some programs allow you to choose the courses that you are interested in. Other 3D animation programs are more structured and are intended to train you for a specific career or 3D animation role within the industry. You may learn about character creation, storyboarding, special effects, image manipulation, image capture, modeling, and various computer aided 3D animation design packages. Some 3D animation courses may cover different methods of capturing and recreating movement for 3D animation. You may learn "light suit" technology, in which suits worn by actors pinpoint the articulation of joints by a light. This if filmed from various different angles and used to replicate animated movement in a realistic way). What skills will I need for a 3D animation program? You'll need to have both creativity and attention to detail for a career in 3D animation. -
3D Computer Animated Walkthroughs for Architecture, Engineering, and Construction Applications
3D Computer Animated Walkthroughs for Architecture, Engineering, and Construction Applications Clark A. Cory, W. Scott Meador and William A. Ross Purdue University West Lafayette, Indiana, USA Abstract The assumption in most walkthroughs is that the animation will The purpose of this paper is to discuss the basic issues involved be a fairly accurate approximation of the finished building or site and to suggest methods for the planning and creation of 3D from the point of view of an observer. The height of the camera computer animation walkthroughs and flythroughs for for a walkthrough gives the viewer a visual cue as to his or her architectural, engineering, and construction applications. The relationship to the scale of the model. Most film directors intended audience for this paper is international educators seeking position the camera about a foot below eye level. (Weishar). to incorporate useful methods and techniques into their Just as in filming home movies, a camera is used to establish the curriculum when 3D walkthroughs are needed. point of view and the path of the observer moving in a Keywords: 3D computer animation, walkthrough, flythrough, walkthrough. For this reason it is important to be knowledgeable architectural animation of the basic mechanics of field of view and movement with cameras. Understanding camera movement is also highly 1. INTRODUCTION important when applied to typical foot speed and head turn rates created in a walkthrough Further study to understand the role of Walkthroughs, as they are commonly called, are not only valuable motion blur and depth of field is also valuable for adding realism for conveying information about a building, structure, or large to motion in walkthrough scenes. -
The Animated City
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Pallant, C. (2013) New York: the animated city. Comparative American Studies, 11 (4). pp. 349-360. ISSN 1477-5700. Link to official URL (if available): http://dx.doi.org/10.1179/1477570013Z.00000000056 This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] New York: The Animated City Chris Pallant Canterbury Christ Church University Abstract The urban landscape of New York City is one that is familiar to many, but through the medium of animation this familiarity has been consistently challenged. Often metamorphic, and always meticulously constructed, animated imagery encourages reflective thinking. Focussing on the themes of construction, destruction, and interactivity, this article seeks to cast critical light upon the animated double life that New York City has lived through the following moving image texts: Disney’s Fantasia 2000 (1999), Patrick Jean’s computer- generated short Pixels (2009), and Rockstar Games’ open-world blockbuster Grand Theft Auto IV (2008). Keywords animation, cinema, Disney, Fantasia 2000, Grand Theft Auto IV, New York, Pixels, video games Introduction Of all the major global cities, New York ‘is perhaps the most storied, photographed and – of course – filmed on earth. A capital of culture, finance, politics and business, an entry point for immigrants, an empire for crime lords and, subsequently, the setting for a multitude of movies, New York is a uniquely cinematic city’ (Harris, 2012: 5). -
SCMS 2012 INT FP-No Rooms.Indd
SCMS 2012 Conference Program Boston Park Plaza Hotel and Towers March 21–25, 2012 Schedule of Events at a Glance Wed, March 21 10:00 – 11:45am Session A 12:15 – 2:00pm Session K 12:00noon – 1:45pm Session B 12:15 – 2:00pm Special Event— New England Archive 2:00 – 3:45pm Session C Showcase—Northeast 4:00 – 5:45pm Session D Historic Film Thurs, March 22 9:00 – 10:45am Session E 2:15 – 4:00pm Orientation for New Members 11:00am – 12:45pm Orientation for New Members 2:15 – 4:00pm Session L 11:00am – 12:45pm Session F 2:15 – 4:00pm Special Event— New England Archive 11:00am – 12:45pm Special Event— Showcase—The Harvard New England Archive Film Archive Showcase—The National Center for 4:15 – 5:30pm Awards Ceremony Jewish Film 5:30 – 7:30pm Reception 1:00 – 2:45pm Session G 8:15pm Special Event— 1:00 – 2:45pm Special Event— Women Make Movies New England Archive 40th Anniversary Showcase—WGBH Sat, March 24 9:00 – 10:45am Session M Media Library and Archives 11:00am – 12:45pm Session N 3:00 – 4:45pm Session H 1:00 – 2:45pm Session O 5:00 – 6:45pm Session I 3:00 – 4:45pm Session P 7:00pm Reception Special Event— 5:00 – 6:45pm Session Q 8:00pm Screening An Evening with 8:00pm Special Event— Experimental Screening of The Last Filmmaker Ernie Gehr Command with Alloy Fri, March 23 9:00 – 10:45am Session J Orchestra 11:00am – 12:00noon Members’ Business Sun, March 25 9:00 – 10:45am Session R Meeting 11:00am – 12:45pm Session S 10 WEDNESDAY MARCH 21, 2012 SESSION A 10:00 – 11:45am Cyborgs, Avatars, A1 Political Cinema from the A2 Immigrant Terminators -
Computer Animation for Architectural Visualisation
Department of Architecture and Building Science University of Strathclyde, Glasgow COMPUTER ANIMATION FOR ARCHITECTURAL VISUALISATION by AHMAD RAFI MOHAMED ESHAQ A thesis submitted in partial fulfilment of the requirements of the University of Strathclyde for the Degree of Doctor of Philosophy. Glasgow, Scotland, United Kingdom. APRIL 1998 i The copyright of this thesis belongs to the author under the terms of the United Kingdom Copyright Acts as qualified by University of Strathclyde Regulation 3.49. Due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. ii acknowledgement acknowledgement In the Name of Allah, the Most Gracious and the Most Merciful. By the time, Verily Man Is in lost, Except such as have Faith, And do righteous deeds, And join together In the mutual enjoining Of Truth, and of Patience and Constancy. Quran Al-'Asr 133 : 1-3 I wish to acknowledge the help and assistance of all the individuals who gave their time to discuss and contribute to this thesis. I would like to thank my supervisor Dr. Alan Bridges for his determination and responsibility in guiding my understanding on the principle issues and design of the thesis ; ABACUS, the Department of Architecture and Building Science and AV Media Services staffs. Thanks are also due to Professor Abu Hasan Ismail ( former head of CAD Centre, Universiti Teknologi Malaysia - UTM ) who encouraged me to take a PhD at Strathclyde University ; Mohd Fuzi Musa, Zulkarnain Hasan and Fauzee Nasir who in particular helped me to retrieve, supply and create the live project animation production sequences ; Alan Ricthie and George Neilson from Television Production, College of Building and Printing, Glasgow, who helped to produce the special effects. -
2012 Preliminary Program Draft 02
Program Sessions Wednesday, March 21, 2012 10:00AM-11:45PM (Session A) A1: Political Cinema from the "Periphery" Room: Alcott Chair: Bruce Williams (William Paterson University) Leslie Marsh (Georgia State University), "Postmemory, Violence, and Trauma in La teta asustada (2009) and Quase Dois Irmãos (2004)" Alex Lykidis (Montclair State University), "Allegories of Peripheral Modernity in Giorgos Lanthimos’ Dogtooth" Ali Sengul (University of Texas, Austin), "Transnationality and the Geopolitics of Kurdish Cinema" Bruce Williams (William Paterson University), "In the Heat of Agitprop: The Global Fires of The Hour of the Furnaces" A2: Cyborgs, Avatars, Immigrant Terminators: Eye-Jabbing Aesthetics and the Cinematic Body Room: Cambridge Chair: Katarzyna Marciniak (Ohio University) Respondent: Neda Atanasoski (University of California, Santa Cruz) Allison de Fren (Occidental College), "Eye Robot: The Critical Function of the Visual Uncanny in Ghost in the Shell 2: Innocence" Bruce Bennett (Lancaster University), "An Eye-Watering Aesthetic: Avatar and the Technological Fantasies of 3-D Cinema" Katarzyna Marciniak (Ohio University), "Immigrant Rage Fantasy and Mexican Terminators: Robert Rodriguez’s Machete" A3: Teaching the Moving Target Room: Beacon Hill Chair: Craig Dietrich (University of Southern California) Workshop Participants: Virginia Kuhn (University of Southern California) Vicki Callahan (University of Wisconsin, Milwaukee) Sean O'Sullivan (Ohio State University) Anne Moore (Tufts University) Craig Dietrich (University of Southern -
Architectural Representation: an Animated· Re-Engagement· of Architecture, Visual· Effects And· The· Moving· Image
TOWARD· A · POST-DIGITAL PRACTICE· OF· ARCHITECTURAL REPRESENTATION: AN ANIMATED· RE-ENGAGEMENT· OF ARCHITECTURE, VISUAL· EFFECTS AND· THE· MOVING· IMAGE. · MATHANRAJ· RATINAM· Doctor of Philosophy School of Architecture and Design RMIT University 2012 An•Animated•Re-Engagement•of•Architecture,•Visual•Effects•and•the•Moving•Image. I Toward a Post-Digital Practice of Architectural Representation: An Animated Re-Engagement of Architecture, Visual Effects and the Moving Image. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Mathanraj Ratinam B. Arch. School of Architecture and Design College of Design and Social Context Portfolio RMIT University August 2012 Toward•a•Post-Digital•Practice•of•Architectural•Representation: Declaration An•Animated•Re-Engagement•of•Architecture,•Visual•Effects•and•the•Moving•Image. III Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Mathanraj Ratinam 10th August 2012 Toward•a•Post-Digital•Practice•of•Architectural•Representation: Acknowledgements For Lisa and our two cheeky monkeys. An•Animated•Re-Engagement•of•Architecture,•Visual•Effects•and•the•Moving•Image. V Acknowledgments he immediate and short list of people to thank also happen to be the people this PhD is for: my wife Lisa who only a couple of years ear- Tlier completed her own doctorate despite encountering some of life’s greatest challenges and our two wonderful young sons who were born after I began pursuing this PhD and on more than one occasion had passages of it read to them at bedtime. -
Download Full Program (PDF-8Mb)
— 1 — The 25th Annual Society for Animation Studies Conference USC School of Cinematic Arts John C. Hench Division of Animation and Digital Arts Los Angeles, California, USA The SAS conference REDEFINING ANIMATION Keynote talks are proudly sponsored by June 23-27 2013 DreamWorks Animation http://anim.usc.edu/sas2013.html Got a smart phone? Scan the QR codes throughout this Program to view the content online. — 2 — — 3 — The John C. Hench Division of Animation & Digital Arts (Hench-DADA) is proud to host REDEFINING ANIMATION the 25th Annual Society for Animation Studies (SAS) Conference 2013. Honoring the tradition of classical animation while also addressing the convergent aspect of the art form across new media formats and technologies, this year’s conference focuses on bringing together scholars, artists and practitioners at the intersection of industry, academia and the arts. USC’s School of Cinematic Arts (SCA) has a long tradition of animation practice and theory starting in 1941 with the first class taught in animation at the school by artist and large format film pioneer Les Novros entitled Filmic Expressions. Today SCA houses seven divisions dedicated to the cinematic arts. Besides Hench-DADA, the school includes the prestigious Bryan Singer Critical Studies Division, Interactive Media & Games Division, Production for Film & Television, Writing, Peter Stark Producing and the new- est division Media Arts and Practice. Keynotes, faculty, students and staff from all of these programs will be participating at the con- ference alongside our special guest keynote speakers Geena Davis (Actor and gender equality advocate), David Hanson (Robotics Artist/Engineer) and Davide Quayola (Artist Italy). -
3D Animation Overview
CHAPTER 1 3D Animation Overview 3D animation has become a mainstay in film, television, and video games, and is becoming an integral part of other industries that may not have found it all that useful at first. Fields such as medicine, architecture, law, and even forensics now use 3D animation. To really understand 3D animation, you must look at its short history, which is tied directly to the history of the com- puter. Computer graphics, one of the fastest growing industries today, drives the technology and determines what computers are going to be able to do tomorrow. In this chapter, you will look at present-day 3D animation and then look back at how the past has shaped what we do today. Defining 3D animation Exploring the 3D animation industry Delving into the history of 3D animation Defining 3D Animation 3D animation, which falls into the larger field of 3D computer graphics, is a general term describing an entire industry that utilizes 3D animation computer software and hardware in many types of productions. This book uses the term 3D animation to refer to a wide range of 3D graphics, including static images or evenCOPYRIGHTED real solid models printed with aMATERIAL 3D printer called a rapid prototyper. But animation and movement is the primary function of the 3D animation indus- try. 3D animation is used in three primary industries: Entertainment Scientific Other 147481c01.indd 1 1/11/12 4:20:32 PM 2 Chapter 1 • 3D Animation Overview Each of these industries uses 3D animation in completely different ways and for different final output, including film, video, visualizations, rapid prototyping, and many others. -
Discussion on the New Thinking of the Creation of Domestic Animated Script
Advances in Social Science, Education and Humanities Research, volume 185 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017) Discussion on the New Thinking of the Creation of Domestic Animated Script Zhang Xiaobo Weinan Normal University, Silk Road School of Art, Weinan, Shaanxi, 714099 Keywords: Domestic Animation, Script Creation, New Thinking, Innovation Abstract: Animation script creation is the foundation of a drama. It plays the most important role in an animated cartoon. The quality of animated cartoons and animated films depends on the creative orientation, cultural perspective and story character of script creation. But most of the students and the company's creative animation script writing a misunderstanding, the inherent mode of thinking, the old routine, single story, no personality and national characteristics in the whole industry is a common phenomenon, so we have to seek new thinking, new ways to solve these problems. As we all know, all artistic creation should keep pace with the times and adapt to the needs of the development of the times, so as to continue to flourish and keep its artistic youth and artistic charm forever. Therefore, this combination of personal for a long time thinking and practice of teaching the subject of new thinking of domestic animation script creation, put forward their own views, make the bait. 1. Problems in the Creation of Domestic Animated Script The creation of animated script is the base of a play, which plays the most important role in a cartoon, and the good or bad of the script depends on the level of the screenplay.