Thinking across Frames – Temporally Extended Consciousness and the Animation Timeline

This article explores ways in which animation production technologies (including pre-cinema, film, and digital tools) have evolved as a system that abstracts time, primarily through its spatialization. This abstraction necessitates certain assumptions about the nature of time, including its linearity and directionality. Animation technologies have evolved so as to support various modes of temporally extended consciousness; an animator’s craft thinks and works through time. Embedded within digital production technologies, the animator is faced with a new philosophical instrument: the animation timeline. The main timeline utility in most animation software adopts a linear, mechanical model of time with the individual frame as the base unit. However, digital animation timeline can also complicate the spatialized temporal dimension, as the timeline is also embedded within animated objects in motion paths and other interface elements . As animated objects always exist through time, not merely within individual frames, the animation software tools for working with time both confine and unlock opportunities for working with time.

Exploring 3D Playblast-To-2D Animation Rotoscoping Techniques

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.

Research on the Computer Case Design of 3D Human Animation Visual Experience

In the animation industry, with the development of computer software and hardware technology, a new technology began to emerge, that is, three-dimensional animation. Three-dimensional animation software first creates a virtual world in the computer. In this virtual three-dimensional world, the designer builds the model and scene according to the shape and size of the object to be represented and then sets the motion trajectory of the model, the motion of the virtual camera, and the scene according to the requirements. When setting other animation parameters, we need to assign specific materials to the model and turn on lights. When all this is completed, the computer can automatically calculate and generate the final picture. The software Maya can just help animators to complete this work. When using Maya, we can apply many professional courses such as action design, scene design, and storyboarding script design that we have learned. Maya is a 3D software with convenient operability. It can combine the rendered sequence frames with AE to show unique animations. Therefore, the three-dimensional production method is preferred in the production method. The production of animation based on the 3D software Maya brings infinite challenges. At the same time, it also helps everyone grow and has a good position for our employment direction.

Attitude of Elementary Stage Students Towards Animation Software as Innovative Strategy to Ensure Learning Outcomes in Mathematics

Over the period of years, there has been a much emphasis on the attainment of minimum levels of learning by the students. The act ( RTE- 2009) emphasises on child friendly learning activities without fear and anxiety. Learning outcomes at elementary stage is a document having list of grade wise learning outcomes. Researchers and policy makers across the globe are interested in improving learning outcomes in fear free environment, with aid of technology and digital innovative. The present paper is an attempt to create Pawtoon (animation software) as innovative strategy to ensure learning outcomes on basis of identifying types of triangle in mathematics at elementary stage. The purpose of this paper is to study the attitude of students towards Pawtoon as improving the learning outcomes. The sample of the study include 31 VII grade students (15 boys 16 girls) selected in random manner. Findings of the study revealed that both boys and girls showed positive response for pawoon on basis of identifying types of triangle in mathematics. Further, response towards animation software among students is positive. Based on results, conclusions has been drawn that animation software as innovative strategies can ensure learning outcomes in overall holistic and comprehensive manner.

Mozaiq: An Inclusive Tool for Curating and Personalizing 2D Stock Animation for People of all Ethnic Backgrounds

When it comes to diversity, and inclusion, what does the current 2D animation landscape look like? This paper offers an in-depth review, and critique of the two most commonly used animation software platforms, Powtoon and Animaker. It highlights the diversity gaps found within these platforms, whilst proposing a platform (Mozaiq) that could potentially bridge these gaps, and provide more inclusive storytelling for all.

Mozaiq: An Inclusive Tool for Curating and Personalizing 2D Stock Animation for People of all Ethnic Backgrounds

When it comes to diversity, and inclusion, what does the current 2D animation landscape look like? This paper offers an in-depth review, and critique of the two most commonly used animation software platforms, Powtoon and Animaker. It highlights the diversity gaps found within these platforms, whilst proposing a platform (Mozaiq) that could potentially bridge these gaps, and provide more inclusive storytelling for all.

Illuminating Time: The Visibility of Temporality in Prehistory

Using the astronomical animation software of Stellarium, this chapter will demonstrate how time was ‘staged’ by prehistoric people at particular periods during the solar and lunar years. It will show how they ‘choreographed’ night- and day-lighting and landscape shadowing effects, along with the appearance and travels of other celestial phenomena in relation to the monuments and their horizons. It was this staging of natural lighting through illumination, brightness, luminescence, shine, gleams, glows, glare, and small points of light, and the opposites of all of these, that enabled their concepts of time to be experienced, shared, and acknowledged by prehistoric peoples.

Skeletal animation for visualizing dynamic shapes of macromolecules

We apply a skeletal animation technique developed for general computer graphics animation to display the dynamic shape of protein molecules. Polygon-based models for macromolecules such as atomic representations, surface models, and protein ribbon models are deformed by the motion of skeletal bones that provide coarse-grained descriptions of detailed computer graphics models. Using the animation software Blender, we developed methods to generate the skeletal bones for molecules. Our example of the superposition of normal modes demonstrates the thermal fluctuating motion obtained from normal mode analysis. The method is also applied to display the motions of protein molecules using trajectory coordinates of a molecular dynamics simulation. We found that a standard motion capture file was practical and useful for describing the motion of the molecule using available computer graphics tools.