Researchers automate the digital animation process

Computer ◽  
2003 ◽  
Vol 36 (4) ◽  
pp. 24-26 ◽  
Author(s):  
L.D. Paulson
Keyword(s):  
Digital Animation

Improvements on the truth

2020 ◽  
Vol 8 (1) ◽  
pp. 63-83
Author(s):  
Damian Gascoigne
Keyword(s):  
New Media ◽  
Digital Technology ◽  
Digital Tools ◽  
Digital Animation ◽  
2D Animation ◽  
Analogue To Digital

My drawn animation practice has always focused on the gestural mark and messy materiality. This article is about what happened to that practice in the transition from analogue to digital animation, questioning what was lost forever and what might still be worth fighting for. This practitioner’s account of a ‘before digital, after digital’ career describes the experience of making work, as work itself changed forever. Ushered in with little reflection or resistance in the mid-1990s, the new digital doctrine slowly consumed hand-drawn 2D animation production to the point where few but the most determined independent makers keep this vital practice alive. My contention is that a reckoning on why and how we engage with digital technology is long overdue. The article will set out why – after working with digital tools for more than twenty years – I have now abandoned all but the most cursory engagement with new media tools and taken the long walk back to a material analogue practice. The ideas under discussion here can be traced back to one overriding concern – the unsolvable relationship between movement in drawing and drawing for movement. This dichotomy is unique to 2D animation, because freedom of gesture in drawing does not produce continuity of movement in animation. Mining this seam drives my independent animation practice as I try to reconcile the page and the frame.

scholarly journals Approaches to Composition in Visual Music: An Artist’s Reflection on Three Original Pieces

2019 ◽  
Vol 29 ◽  
pp. 62-66
Author(s):  
Dave Payling
Keyword(s):  
Electroacoustic Music ◽  
Visual Music ◽  
Similar Work ◽  
Electronic Sound ◽  
Digital Animation ◽  
Compositional Practice

This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.

Playing with Design

2012 ◽  
pp. 217-231
Author(s):  
Pedro Mota Teixeira ◽  
Maria João Félix ◽  
Paula Tavares
Keyword(s):  
Artificial Intelligence ◽  
New Technologies ◽  
Digital Games ◽  
Multidisciplinary Teams ◽  
Dimensional Representation ◽  
Contemporary Theory ◽  
Detail Design ◽  
Digital Animation ◽  
The Status ◽  
The Relationship

In recent years, digital games had the capacity to join a vast set of knowledge fields that provided them the status of one of the areas that has most contributed to the development of contemporary theory of new technologies and also to the development of new imagetic solutions, especially in tri-dimensional representation (3D). Digital games were the motto in the research of artificial intelligence, physical and virtual interfaces, the relationship between man and machine, virtual representation, and development in the field of digital animation. In this context, the aim of the authors’ proposal is to show the need and universality of design in the development of digital games, at the level of amusement games and, mainly, in serious games. Since the authors consider design as a project and understand design as an essential tool in the development of the project, they will dwell on the amplitude of design and designer in multidisciplinary teams of game creation. The following “4 Ds” will be studied and explained in detail: design of games, design of characters and virtual scenography, “design” of emotions, and design of the interface.

Forensic Technologies in the Courtroom

2018 ◽  
Vol 9 (4) ◽  
pp. 15-28
Author(s):  
Vincenzo Antonio Sainato ◽  
Jessica A Giner
Keyword(s):  
Scientific Evidence ◽  
The Body ◽  
Policy Recommendation ◽  
Psychology Research ◽  
Criminal Proceedings ◽  
Probative Value ◽  
Digital Animation ◽  
Legal Psychology ◽  
Court Proceeding

Forensic animation is the use of digital animation technologies to recreate or simulate an event for use as probative evidence in a court proceeding. Acceptance by courts of this technology varies by jurisdiction. Some courts disallow its use because of the technology's prejudicial impact when weighed against the probative value and perceived tendency to bias jurors; such courts typically do not consider the relevant legal psychology research. This article examines the body of scientific evidence with respect to value of the technology, with a focus on criminal proceedings. It concludes with a policy recommendation for courts to employ in light of these considerations.

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