关于动画的 毕业设计论文 英文文献 翻译
Flash动画外文文献word版本
F l a s h动画外文文献Flash animationIn the modern teaching, the traditional teaching has already cannot satisfy the requirement of modern teaching, the teaching way and teachers etc are put forward higher request, so for the Flash animation courseware development has a very important significance. Flash can not only make the learners to deepen the understanding of the knowledge, improve the learning interest of the students and teachers' teaching efficiency, also can add vivid artistic effect courseware, conduce to the academic knowledge expression and communication. In order to provide students with intuitive experimental process, improve their learning efficiency and flash animation in the teaching application is necessary. This paper to make proteins dialysis animation as an example, introduced simply have strong ability and unique interactive Flash8.0, discusses how to use the Flash8.0 make protein dialysis experimental animation whole process and related matters.What is FlashFlash is an authoring tool that lets designers and developers create presentations, applications, and other content that enables user interaction. Flash projects can include simple animations, video content, complex presentations, applications, and everything in between. In general, individual pieces of content made with Flash are called applications, even though they might only be a basic animation. You can make media-rich Flash applications by including pictures, sound, video, and special effects.Flash is extremely well suited to creating content for delivery over the Internet because its files are very small. Flash achieves this through its extensive use of vector graphics. Vector graphics require significantly less memory and storage space than bitmap graphics because they are represented by mathematical formulas instead of large data sets. Bitmap graphics are larger because each individual pixel in the image requires a separate piece of data to represent it.To build an application in Flash, you create graphics with the Flash drawing tools and import additional media elements into your Flash document. Next, you define how and when you want to use each of those elements to create the application you have in mind.When you author content in Flash, you work in a Flash document file. Flash documents have the file extension .fla. A Flash document has four main parts: The Stage is where your graphics, video, buttons, and so on appear during playback.The Timeline is where you tell Flash when you want the graphics and other elements of your project to appear. You also use the Timeline to specify the layering order of graphics on the Stage. Graphics in higher layers appear on top of graphics in lower layers.The Library panel is where Flash displays a list of the media elements in your Flash document.ActionScript code allows you to add interactivity to the media elements in your document. For example, you can add code that causes a button to display a new image when the user clicks it. You can also use ActionScript to add logic to your applications. Logic enables your application to behave in different ways depending on the user’s actions or other conditions. Flash includes two versions of ActionScript,each suited to an author’s specific needs. For more information about writing ActionScript, see Learning ActionScript 2.0 in Flash in the Help panel.Flash includes many features that make it powerful but easy to use, such as prebuilt drag-and-drop user interface components, built-in behaviors that let you easily add ActionScript to your document, and special effects that you can add to media objects.When you have finished authoring your Flash document, you publish it using the File > Publish command. This creates a compressed version of your file with the extension .swf. You can then play the SWF file in a web browser or as a stand-alone application using Flash Player.What you can do with FlashWith the wide array of features in Flash, you can create many types of applications. The following are some examples of the kinds of applications Flash is capable of generating:Animations These include banner ads, online greeting cards, cartoons, and so on. Many other types of Flash applications include animation elements as well.Games Many games are built with Flash. Games usually combine the animation capabilities of Flash with the logic capabilities of ActionScript.User interfaces Many website designers use Flash to design user interfaces. These include simple navigation bars as well as much more complex interfaces.Flexible messaging areas These are areas in web pages that designers use for displaying information that may change over time. A flexible messaging area (FMA) on a restaurant website might display information about each day’s menu specials.Rich Internet applicationsThese include a wide spectrum of applications that provide a rich user interface for displaying and manipulating remotely stored data over the Internet. A rich Internet application could be a calendar application, a price-finding application, a shopping catalog, an education and testing application, or any other application that presents remote data with a graphically rich interface.Depending on your project and your working style, you may use these steps in a different order. As you become familiar with Flash and its workflows, you will discover a style of working that suits you best.About ActionScript and eventsIn Macromedia Flash Basic 8 and Macromedia Flash Professional 8, ActionScript code is executed when an event occurs: for example, when a movie clip is loaded, when a keyframe on the Timeline is entered, or when the user clicks a button. Events can be triggered either by the user or by the system. Users click mouse buttons and press keys; the system triggers events when specific conditions are met or processes completed (the movie loads, the Timeline reaches a certain frame, a graphic finishes downloading, and so on).When an event occurs, you write an event handler to respond to the event with an action. Understanding when and where events occur will help you to determine how and where you will respond to the event with an action, and which ActionScript tools should be used in each case.Events can be grouped into a number of categories: mouse and keyboard events, which occur when a user interacts with your Flash application via the mouse and keyboard; clip events, which occur within movie clips; and frame events, which occur within frames on the Timeline.Mouse and keyboard eventsA user interacting with your Flash movie or application triggers mouse and keyboard events. For example, when the user rolls over a button, the on (rollOver) event occurs; when a button is clicked, the on (press) event occurs; if a key on the keyboard is pressed, the on (keyPress) event occurs. You can attach scripts to handle these events and add all the interactivity you desire.Clip eventsWithin a movie clip, you may react to a number of clip events that are triggered when the user enters or exits the scene or interacts with the scene using the mouse or keyboard. You might, for example, load an external SWF file or JPG image into the movie clip when the user enters the scene, or allow the user’s mouse movements toreposition elements in the scene.Frame eventsOn a main or movie clip Timeline, a system event occurs when the playhead enters a keyframe—this is known as a frame event. Frame events are useful for triggering actions based on the passage of time (moving through the Timeline) or for interacting with elements that are currently visible on the stage. When you add a script to a keyframe, it is executed when the keyframe is reached during playback. A script attached to a frame is called a frame script.One of the most common uses of frame scripts is to stop the playback when a certain keyframe is reached. This is done with the stop() function. You select a keyframe and then add the stop() function as a script element in the Actions panel.Once you’ve stopped the movie at a certain keyframe, you need to take some action. You could, for example, use a frame script to dynamically update the value of a label, to manage the interaction of elements on the stage, and so on. For more information, see Chapter 5, “Handling Events,” on page #.Organizing ActionScript codeYou may attach scripts to keyframes and to object instances (movie clips, buttons, and other symbols). However, if your ActionScript code is scattered over many keyframes and object instances, debugging your application will be much more difficult. It will also be impossible to share your code between different Flash applications. Therefore, it’s important to follow best practices for coding when youcreate ActionScript in Flash.Rather than attaching your scripts to elements like keyframes, movie clips, and buttons, you should respond to events by calling functions that reside in a central location. One method is to attach embedded ActionScript to the first or second frame of the Timeline whenever possible so you don’t have to search through the FLA file tofind all your code. A common practice is to create a layer called actions and place your ActionScript code there.When you attach all your scripts to individual elements, you’re embedding all your code in the FLA file. If sharing your code between other Flash applications is important to you, use the Script window or your favorite text editor to create an external ActionScript (AS) file.By creating an external file, you make your code more modular and well organized. As your project grows, this convenience becomes much more useful than you might imagine. An external file aids debugging and also source control management if you’re working on a project with other developers.To use the ActionScript code contained in an external AS file, you create a script within the FLA file and then use the #include statement to access the code you’ve stored externally, as shown in the following example:#include "../core/Functions.as"You can also use ActionScript 2.0 to create custom classes. You must store custom classes in external AS files and use import statements in a script to get the classes exported into the SWF file, instead of using #include statements. You can also use components to share code and functionality.About writing scripts to handle eventsEvents can be categorized into two major groups: those that occur on the Timeline (in keyframes) and those that occur on object instances (move clips, buttons, and other symbols). The interactivity of your Flash movie or application can be scattered over the many elements in your project, and you may be tempted to add scripts directly to these elements. However, Macromedia recommends that you do not add scripts directly to these elements (keyframes and objects). Instead, you should respond to events by calling functions that reside in a central location.Using the Actions panel and Script windowTo create scripts that are part of your document, you enter ActionScript directly into the Actions panel. To create external scripts, you can use the Script window (File > New > ActionScript File) or your preferred text editor.When you use the Actions panel or Script window, you are using the ActionScript editor. Both the Actions panel and Script window have the Script pane (which is where you use the ActionScript editor) and the Actions toolbox. However, the Actions panel, and the Flash authoring environment in general, offer a few more code-assistance features than the Script window. Flash offers these features in the Actions panel because they are especially useful in the context of editing ActionScript within a FLA file.Flash 动画在现代教学中,传统的教学已经不能满足现代教学的要求,这对教学方式和教师等都提出了更高的要求,所以对于Flash制作动画课件的研制有着极为重要的意义。
动画论文外文翻译
外文文献翻译2.5.1译文:看电影的艺术1930年代中期,沃尔特·迪斯尼才明确以动画电影娱乐观众的思想,动画片本身才成为放映主角(不再是其他剧情片的搭配)。
于1937年下半年首映的动画片《白雪公主与七个小矮人》为动画片树立了极高的标准,至今任然指导着动画艺术家们。
1940年,这一年作为迪斯尼制片厂的分水岭,诞生了《木偶奇遇记》和《幻想曲>。
这些今天成为经典的作品在接下来的二十年中被追随效仿,产生了一系列广受欢迎的动画娱乐作品。
包括《小飞象》,《灰姑娘》,《爱丽丝漫游仙境》,《彼得·潘》,《小姐与流浪儿》,他们的故事通常源自广为人知的文学故事。
这些影片最不好的地方在于它们似乎越来越面向小观众。
在1966年第四你去死后,他的制片厂继续制作手绘动画影片,但是创作能量衰减,公司转而专注于著作真人是拍电影。
然而1989年,对于我们所有孩子来说,动画《小美人鱼》赋予了迪士尼新的生命活力(就像animation这个词本身的定义一样——使有生命活力),从该片开始,出现了一系列令人惊叹不已的音乐动画片。
两年后,《美女与野兽》问世,塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段,这部影片获得了奥斯卡最佳电影奖提名,它是第一部获此殊荣的动画片。
更好的还在后面,就想着两部影片一样,后面紧接着出现的众多优秀作品——包括《狮子王》,《阿拉丁》,《花木兰》——延续了迪士尼的经典传统:大胆醒目的视觉效果、精致的剧本,以及我们在所有伟大的电影中,不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。
迪士尼的新版《幻想曲》,又被称为《幻想曲2000》,把原版中的部分片段与新的创作部分糅合在一起。
(而且,按照迪士尼管理层的说法,该片是首部在IMAX巨幕影院首映的剧情长片。
)亨利·塞利克执导了蒂姆·波顿出品的两部影片,即《圣诞惊魂夜》和《飞天巨桃历险记》——前者是一部完全原创的定格动画,影片画面有时渗透着无限的恐惧,后者改编自罗纳德·达尔的畅销儿童书,该影片以真人实景拍摄开始。
动画设计电视广告论文中英文外文翻译文献
动画设计电视广告论文中英文外文翻译文献Copywriting for Visual MediaBefore XXX。
and film advertising were the primary meansof advertising。
Even today。
local ads can still be seen in some movie theaters before the start of the program。
The practice of selling time een programming for commercial messages has e a standard in the visual media XXX format for delivering shortvisual commercial messages very XXX.⑵Types of Ads and PSAsThere are us types of ads and public service announcements (PSAs) that XXX ads。
service ads。
and XXX a specific product。
while service ads promote a specific service。
nal ads。
on theother hand。
promote an entire company or industry。
PSAs。
on the other hand。
are mercial messages that aim to educate andinform the public on important issues such as health。
safety。
and social XXX.⑶The Power of Visual AdvertisingXXX。
The use of colors。
动漫发展英语论文
A n a l y s i s o n t h e d e v e l o p m e n t o f C h i n e s e a n i m a t i o n i n d u s t r y Abstract:Chinese animation industry on the surface, it seems that the situation is excellent, but, as the animation industry development and mature symbol of the animation industry chain has not been formed, there is a wide range of influence of the original work is still very little. Cause of this situation: video player system of monopoly position remains unchanged; lack of original animation;China's"on thethethe ofthenumber of animation wave. Animation as a new economic growth has also been all over the hopes, animation in a piece of "great leap forward" the excellent situation, the emergence of a fine, especially in the central television broadcast such as "journey to the west", "the adventures of little carp" Jingwei "the rainbow blue rabbit seven chivalrous biography" the Sanmao roams about Records "" time boy "the legend of Nezha" the kid "the magic teenager," pig man Martial Arts 2008"and so on. But the animation is fine, but does not mean that the animation industry as a leading animation has been formed. Animation industry is its own rules of operation, it is by the cartoon, cartoon Planning -- Animation -- video playback of animation derivative products marketing it's five major industrial chain organic unifies in together, mutual cooperation, mutual cooperation, complement each other, a virtuous circle together to improve the organic link. It is not difficult to see that China's current animation industry chain is still missing broken chain". The animation level,of theofofunclear responsibilities and lack of coordination and unification". The proposal that the animation industry from the creation, broadcast, publishing to derivative products and so on each link, respectively by the State Administration of radio, film and television, press and publishing administration, the Ministry of culture, State Administration for Industry and commerce, the Ministry of information industry, the Ministry of science and technology, the Ministry of education and other ministries crossmanagement and responsibilities of the ministries and commissions of the State Council is not clear. Other according to incomplete statistics. Up to now, the construction of a total of more than 60 animation industry base, which base of national award is 42, respectively, by a number of ministries awarding. Seems to be booming, but the base investors turned real estate developers, because the development model is similar and led to the base of the base to rob businesses and resource idle phenomenon is not uncommon. At present, animation industry related industry associations andindustrybecomeChina'sdirectfound that the number of animation works increased, the amount of animation production increased, the cartoons are less, the influence of the animation brand is less. The two little more than two shows into animation works to the commodity is not enough. In recent years, through the television media popular cartoon made only blue cat, Nezha, rainbow cat, small carp for a few, the blue cat, rainbow cat and more derivative products and successfully and children's drinks realizing binding.But in addition to the two "the cat", brand promotion other images are few, the legend of Nezha "fall from the sky a pig", "Qin Shimingyue" "happy star cat," happy stuff "and other excellent animation works of derivative product development is obviously insufficient. n addition to books, other product image authorized only simply stay in the cartoon image of the paste on different products, and did not realize the cartoon animation name or by cartoon market driven the rise and prosperity of market of the products, promote sales market of animation, even if sales increase, butin ourfilm and animation playback and approved by the relevant departments, but pay cinema a large sum of money to ensure the broadcast film after loss or as compensation for loss of like animated film " The soldier zhangga". So that the animation production company does not make the film does not lose, production on the deficit, broadcast more losses, unless you can get the strong support of corporate and bank funds. But banks and enterprises is to profit for the purpose of, the loss is not, then theyonly took a fancy to invest in "cartoon" the potential market prospect will invest, but the animation industry has broad unique eyes bankers and entrepreneurs and how much?? only to break the monopoly of television and cinema of unify the whole country, new alternative paths, animation companies may have a new way. Traditional film and television media in the 5 years ago, the influence is still quite large, but now it is greatly reduced. The emergence of new media such as digital TV, Internet, mobile TV, IPTV, and so on, provides a new way for the spread of the cartoon brand.vividatof machining process, animation company training a large number of animation production personnel, it is particularly worth mentioning is the application of new computer technology, breaking the traditional Ching Ching, a celluloid film shooting, using direct currentBrain shooting, computer graphics, computer graphics, computer graphics, and so on, greatly accelerate the speed of the production of animation. In this environment, growing up gradually in theour country animation workers, they in thinking about the status quo of China's animation. More and more of China's animation industry lags far behind Japan, the United States and other anxiety, in exploring the road of developing China's animation of development and the future and destiny. At present, the overall level of China's animation creation team is not high is an indisputable fact, the image of the original work of the lack of freshness and impact, the story does not attract people and other issues, resulting in the spread of limited. In the process of the creation of the product, theTo as antypes oftheme on,the end of the last century China Youth comic author Yao Feila created comic "dream" changed into the eponymous cartoon, but in the five years after it was completed and aired, and for the year in hot pursuit of the readers, they already grew up, on the "dream" also have a new understanding, and now seen the cartoon audience and the original is not familiar with, the result is not reached and obsession of heat in the past, not attracted many viewers. Success in this regard only in 1998 by theShanghai animation film studio animated "I mad song". At the time of writing this work, the author makes a thorough investigation and study of the animation market. At that time, Japan and South Korea's animation accounted for the absolute market share in China, and the middle school students and teenagers to new songs especially Hong Kong singer sought to frenzied obsession, from the heart of South Korea and Hong Kong Youth pies, hair is a kind of intimacy, so the authors of Shanghai animation film studio just grab the mentality of young people, to create a suitable was donethe books,--evil andwith a Faust, egged on by waging war, Li Bai turned the test fail punks... "Why now the domestic animation will be so and real life out of touch? Here is undeniable that a quick thought in the haunt. The authors did not in-depth understanding of the audience's heart, not the thorough investigation and study of realistic animation market, the creator of lost animation nature, that is face is many viewers of "ordinary" and "universal" of, not to concern the audiencereally need what kind of spiritual food, not to study the market really need what kind of animation, not to study the shoot animation in the end is to see what the. Adaptation of the existing story, the existing idiom, the existing myth, the existing legend, relatively easy to get the leadership of the affirmation and praise, and the reality of the work is easy to touch the reality and cause a lot of controversy. No matter what kind of works, the author believes that we should meet the needs of modern people's appreciation. That is to say, an era is an era of popular, an era is an era, an era is anera, mythincreasedso centraltimeof the adaptation of the romance of the premise, the realistic theme original is animation revitalization of the primary point, especially the reality can't read science fiction original is the most attractive.(c)the operation mechanism of industrial uselessMany animation companies in the mind is all very clear, regardless of is the animation or, comics or, walk the road of industrialization, can only be like a schoolboy, do anything to start from themost basic work (because they themselves did not base). Here said the foundation, is refers to shooting cartoons must do things, such as market research, production cycle, film and television broadcast arrangements, books and audiovisual products display, other derivative products, market and how to operation and so on, but general animation production company or is operating companies always have such shortcomings. One: the animated confidence full, but in operation approval and broadcast grade can not reach the expected time, because many companies are idealand on TVcartoonof. varioustoindustry, animation operation, various universities are rarely involved, said the popular point is only taught children to walk, not to teach the children why go, did not teach children to walk toward the direction, didn't tell will meet what to go on the road, and develop the students "unrealistic expectations. Five: quick. Each animation companies want to in the country strongly encourage the development of animation industry fishing for the pot of gold, the basic work of Du'an don't have the heart to do, blundering psychology how can make a fine cartoons! Six: many animation companyboss, are not doing animation was born, the animation only feeling in the film and television, they put other career earned money into the animation, in order to under the national policy of preferential fish pot of gold. Carries such a speculative psychology how to do the basic work it! This is the our country many animation planning status of the operation of the company.(d) the blind development of derivatives market21,of the animation, the timing of the television broadcast on the grasp to be fully considered. Must be coordinated, the number of production should be fully considered broadcast cycle. And China's cartoon broadcast not with subjective volition of the production company for transfer (which is decided by the television broadcast system of monopoly), and derivative products also have to operate in advance, put market opportunities such as are not allowed to grasp, inventory backlog caused by the inevitable result. And some cartoon broadcast simply did not consider the marketprospects of its derivatives, to be able to arrange the broadcast is very good. This will inevitably cause the derivative product market blindness, also caused the Chinese animation derivatives market is between Japan and the United States has long after the market feedback has good market effect of animation and its derivative products brisk sales phenomenon. Some radical people say: more than the base of the company, the company more than the animation, animation than books, more than the sale of the library. It was ugly, but also to some extent reflects the current embarrassing situationregionthecat" animation industry chain. And the combination of rainbow cat and children's products is also a very good case. If the animation industry does not form the integration of industrial chain, it is absolutely impossible to survive. Realization of animation works to the transformation of goods, the key is to have a good work. What's good works? Is the first good cartoon image. A good cartoon image in color, modeling to be cute, easy to develop the development of derivative products. Have a matchwith the story of the good, the most important is the cartoon image must be endowed with a kind of spirit, it should is a group of voice or have some spirit characteristics, can become the idol of this population. From the work to the product is also an important part of - product design. This is a lot of animation companies are easy to ignore the problem. I often hear such a phenomenon: some of the animation studio of the original staff, holding to design their own cartoon find a product production enterprise, expected to discuss the brand authorization, but did not consider this why"youngofis theconfused by many animation production units and planning the operation of the unitThe biggest problem. And the emergence of the problem, is the reality of our country produced the inevitable, bull management, multi phase elbow, catch condominium together is neat catch Gu pipe, policies from different departments, and at a loss.Conclusions:The entire animation industry can manifest the IT industry tension or cultural tension, in fact, more is it is a complex industry, and is not a single publishing industry, or single animation film industry. A product needs to integrate the image, rather than simply a link. Only a sound basis for the integration of marketing, the product will be able to release the largest market potential. Industry experts pointed out that we have a deviation of the understanding of the "animation". The original intention of the animation itself refers to the concept of a chain of industry, animation is not to refertoJapaneseto theface ofreference:1] Wang Jizhong. Operation and management of animation industry [M]. Beijing: Communication University of China press, 2006。
关于动画片的英语作文
Cartoons are a form of animation that has captured the hearts and imaginations of audiences across the globe.They are not just a source of entertainment but also a medium for storytelling,education,and cultural expression.Heres a detailed look at the world of cartoons,their significance,and their impact on society.The History of AnimationThe roots of animation can be traced back to the early20th century when pioneers like Walt Disney and Max Fleischer began experimenting with the art of bringing drawings to life.The first animated feature film,Snow White and the Seven Dwarfs,was released in 1937,marking a significant milestone in the history of animation.Types of AnimationThere are various types of animation techniques used in the creation of cartoons.These include:1.Traditional Handdrawn Animation:This is the classic method where each frame is drawn by hand and then photographed to create the illusion of movement.2.Stop Motion:Objects,often clay figures or puppets,are physically manipulated and photographed one frame at a time to create a stopmotion effect.putergenerated Animation CGI:With the advent of technology,animation has moved into the digital realm,where images are created and manipulated using computer software.4.2D Animation:This refers to flat,twodimensional animation,which is often used in traditional cartoons.5.3D Animation:This creates a more realistic,threedimensional look and is commonly used in modern animated films and video games.Cultural ImpactCartoons have had a profound impact on culture.They have been used to convey social commentary,promote educational content,and even influence fashion and music trends. The characters and stories from cartoons often become cultural icons,influencing the way people perceive the world around them.Educational ValueMany cartoons are designed with an educational component,teaching children about various subjects such as history,science,and social skills.They can be a fun andengaging way for children to learn,making complex concepts more accessible and enjoyable.Economic SignificanceThe animation industry is a significant economic driver,generating billions of dollars in revenue through box office sales,merchandise,and licensing deals.It also provides employment opportunities for artists,writers,animators,and other professionals in the creative sector.Challenges in the IndustryDespite its popularity,the animation industry faces challenges such as piracy,which can affect the profitability of animated films and series.Additionally,there is a constant need for innovation to keep up with the evolving tastes of audiences and the advancements in technology.Future of AnimationAs technology continues to evolve,so does the animation industry.Virtual reality and augmented reality are opening up new possibilities for immersive storytelling.The future of animation is likely to be more interactive and personalized,with audiences having a more direct role in the narrative experience.In conclusion,cartoons are more than just a form of entertainment they are a powerful tool for communication,education,and cultural exchange.As the industry continues to grow and adapt,the role of cartoons in society is likely to become even more significant.。
3d动画制作中英文对照外文翻译文献
3d动画制作中英文对照外文翻译文献预览说明:预览图片所展示的格式为文档的源格式展示,下载源文件没有水印,内容可编辑和复制中英文对照外文翻译文献(文档含英文原文和中文翻译)Spin: A 3D Interface for Cooperative WorkAbstract: in this paper, we present a three-dimensional user interface for synchronous co-operative work, Spin, which has been designed for multi-user synchronous real-time applications to be used in, for example, meetings and learning situations. Spin is based on a new metaphor of virtual workspace. We have designed an interface, for an office environment, which recreates the three-dimensional elements needed during a meeting and increases the user's scope of interaction. In order to accomplish these objectives, animation and three-dimensional interaction in real time are used to enhance the feeling of collaboration within the three-dimensional workspace. Spin is designed to maintain a maximum amount of information visible. The workspace is created using artificial geometry - as opposed to true three-dimensional geometry - and spatial distortion, a technique that allows all documents and information to be displayed simultaneously while centering the user's focus of attention. Users interact with each other via their respective clones, which are three-dimensional representations displayed in each user's interface, and are animated with user action on shared documents. An appropriate object manipulation system (direct manipulation, 3D devices and specific interaction metaphors) is used to point out and manipulate 3D documents.Keywords: Synchronous CSCW; CVE; Avatar; Clone; Three-dimensional interface; 3D interactionIntroductionTechnological progress has given us access to fields that previously only existed in our imaginations. Progress made in computers and in communication networks has benefited computer-supported cooperative work (CSCW), an area where many technical and human obstacles need to be overcome before it can be considered as a valid tool. We need to bear in mind the difficulties inherent in cooperative work and in the user's ability to perceive a third dimension.The Shortcomings of Two- Dimensional InterfacesCurrent WIMP (windows icon mouse pointer) office interfaces have considerable ergonomic limitations [1].(a) Two-dimensional space does not display large amounts of data adequately. When it comes to displaying massive amounts of data, 2D displays have shortcomings such as window overlap and the need for iconic representation of information [2]. Moreover, the simultaneous display of too many windows (the key symptom of Windowitis) can be stressful for users [3].(b) WIMP applications are indistinguishable from one another; leading to confusion. Window dis- play systems, be they XII or Windows, do not make the distinction between applications, con- sequently, information is displayed in identical windows regardless of the user's task.(c) 2D applications cannot provide realistic rep- resentation. Until recently, network technology only allowed for asynchronous sessions (electronic mail for example); and because the hardware being used was not powerful enough, interfaces could only use 2D representations of the workspace.Metaphors in this type of environment do not resemble the real space; consequently, it is difficult for the user to move around within a simulated 3D space.(d) 2D applications provide poor graphical user representations. As windows are indistinguish- able and there is no graphical relation between windows, it is difficult to create a visual link between users or between a user and an object when the user's behavior is been displayed [4].(e) 2D applications are not sufficiently immersive, because 2D graphical interaction is not intuitive (proprioception is not exploited) users have difficulties getting and remaining involved in the task at hand.Interfaces: New ScopeSpin is a new interface concept, based on real-time computer animation. Widespread use of 3D graphic cards for personal computers has made real-time animation possible on low-cost computers. The introduction of a new dimension (depth) changes the user's role within the interface, the use of animation is seamless and therefore lightens the user's cognitive load. With appropriate input devices, the user now has new ways of navigating in, interacting with and organizing his workspace. Since 1995, IBM has been working on RealPlaces [5], a 3D interface project. It was developed to study the convergence between business applications and virtual reality. The user environment in RealPlaces is divided into two separate spaces (Fig, 1): ? a 'world view', a 3D model which stores and organizes documents through easy object interaction;a 'work plane', a 2D view of objects with detailed interaction, (what is used in most 2D interfaces).RealPlaces allows for 3D organization of a large number ofobjects. The user can navigatethrough them, and work on a document, which can be viewed and edited in a 2D application that is displayed in the foreground of the 'world'. It solves the problem of 2D documents in a 3D world, although there is still some overlapping of objects. RealPtaces does solve some of the problems common to 2D interfaces but it is not seamless. While it introduces two different dimensions to show documents, the user still has difficulty establishing links between these two dimensions in cases where multi-user activity is being displayed. In our interface, we try to correct the shortcomings of 2D interfaces as IBM did in RealPlaces, and we go a step further, we put forward a solution for problems raised in multi-user cooperation, Spin integrates users into a virtual working place in a manner that imitates reality making cooperation through the use of 3D animation possible. Complex tasks and related data can be represented seamlessly, allowing for a more immersive experience. In this paper we discuss, in the first part, the various concepts inherent in simultaneous distant cooperative work (synchronous CSCW), representation and interaction within a 3D interface. In the second part, we describe our own interface model and how the concepts behind it were developed. We conclude with a description of the various current and impending developments directly related to the prototype and to its assessment.ConceptsWhen designing a 3D interface, several fields need to be taken into consideration. We have already mentioned real-time computer animation and computer-supported cooperative work, which are the backbone of our project. There are also certain fields of the human sciences that have directty contributed to thedevelopment of Spin. Ergon- omics [6], psychology [7] and sociology [8] have broadened our knowIedge of the way in which the user behaves within the interface, both as an individual and as a member of a group.Synchronous Cooperative WorkThe interface must support synchronous cooper- ative work. By this we mean that it must support applications where the users have to communicate in order to make decisions, exchange views or find solutions, as would be the case with tele- conferencing or learning situations. The sense of co-presence is crucial, the user needs to have an immediate feeling that he is with other people; experiments such as Hydra Units [9] and MAJIC [10] have allowed us to isolate some of the aspects that are essential to multimedia interactive meetings.Eye contact." a participant should be able to see that he is being looked at, and should be able to look at someone else. ? Gaze awareness: the user must be able to estab- fish a participant's visual focus of attention. ? Facial expressions: these provide information concerning the participants' reactions, their acquiescence, their annoyance and so on. ? GesCures. ptay an important role in pointing and in 3D interfaces which use a determined set of gestures as commands, and are also used as a means of expressing emotion.Group ActivitySpeech is far from being the sole means of expression during verbal interaction [1 1]. Gestures (voluntary or involuntary) and facial expressions contribute as much information as speech. More- over, collaborative work entails the need to identify other people's points of view as well as their actions [1 2,1 3]. This requires defining the metaphors which witl enable users involvedin collaborative work to understand what other users are doing and to interact withthem. Researchers I1 4] have defined various communication criteria for representing a user in a virtual environment. In DIVE (Distributed Interactive Virtual Environment, see Fig. 2), Benford and Fahl6n lay down rules for each characteristic and apply them to their own system [1 5]. lhey point out the advantages of using a clone (a realistic synthetic 3D representation of a human) to represent the user. With a clone, eye contact (it is possible to guide the eye movements of a clone) as well as gestures and facial expressions can be controlled; this is more difficult to accomplish with video images. tn addition to having a clone, every user must have a telepointer, which is used to designate obiects that can be seen on other users' displays.Task-Oriented InteractionUsers attending a meeting must be abte to work on one or several shared documents, it is therefore preferable to place them in a central position in the user's field of vision, this increases her feeling of participation in a collaborative task. This concept, which consists of positioning the documents so as to focus user attention, was developed in the Xerox Rooms project [1 6]; the underlying principle is to prevent windows from overlapping or becoming too numerous. This is done by classifying them according to specific tasks and placing them in virtual offices so that a singIe window is displayed at any one (given) time. The user needs to have an instance of the interface which is adapted to his role and the way he apprehends things, tn a cooperative work context, the user is physically represented in the interface and has a position relative to the other members of the group.The Conference Table Metaphor NavigationVisually displaying the separation of tasks seems logical - an open and continuous space is not suitable. The concept of 'room', in the visual and in the semantic sense, is frequently encountered in the literature. It is defined as a closed space that has been assigned a single task.A 3D representation of this 'room' is ideal because the user finds himself in a situation that he is familiar with, and the resulting interfaces are friendlier and more intuitive.Perception and Support of Shared AwarenessSome tasks entail focusing attention on a specific issue (when editing a text document) while others call for a more global view of the activity (during a discussion you need an overview of documents and actors). Over a given period, our attention shifts back and forth between these two types of activities [17]. CSCW requires each user to know what is being done, what is being changed, where and by whom. Consequently, the interface has to be able to support shared awareness. Ideally, the user would be able to see everything going on in the room at all times (an everything visible situation). Nonetheless, there are limits to the amount of information that can be simultaneously displayed on a screen. Improvements can be made by drawing on and adopting certain aspects of human perception. Namely, a field of vision with a central zone where images are extremely clear, and a peripheral vision zone, where objects are not well defined, but where movement and other types of change can be perceived.Interactive Computer AnimationInteractive computer animation allows for two things: first, the amount of information displayed can be increased, andsecond, only a small amount of this information can be made legible [18,19]. The remainder of the information continues to be displayed but is less legible (the user only has a rough view of the contents). The use of specific 3D algorithms and interactive animation to display each object enables the user visually to analyse the data quickly and correctly. The interface needs to be seamless. We want to avoid abstract breaks in the continuity of the scene, which would increase the user's cognitive load.We define navigation as changes in the user's point of view. With traditional virtual reality applica- tions, navigation also includes movement in the 3D world. Interaction, on the other hand, refers to how the user acts in the scene: the user manipulates objects without changing his overall point of view of the scene. Navigation and interaction are intrinsically linked; in order to interact with the interface the user has to be able to move within the interface. Unfortunately, the existence of a third dimension creates new problems with positioning and with user orientation; these need to be dealt with in order to avoid disorienting the user [20].Our ModelIn this section, we describe our interface model by expounding the aforementioned concepts, by defining spatial organization, and finally, by explaining how the user works and collaborates with others through the interface.Spatial OrganizationThe WorkspaceWhile certain aspects of our model are related to virtual reality, we have decided that since our model iS aimed at an office environment, the use of cumbersome helmets or gloves is not desirable. Our model's working environment is non-immersive.Frequently, immersive virtual reality environments tack precision and hinder perception: what humans need to perceive to believe in virtual worlds is out of reach of present simulation systems [26]. We try to eliminate many of the gestures linked to natural constraints, (turning pages in a book, for example) and which are not necessary during a meeting. Our workspace has been designed to resolve navigation problems by reducing the number of superfluous gestures which slow down the user. In a maI-life situation, for example, people sitting around a table could not easily read the same document at the same time. To create a simple and convenient workspace, situations are analysed and information which is not indispensable is discarded [27]. We often use interactive computer animation, but we do not abruptly suppress objects and create new icons; consequently, the user no longer has to strive to establish a mental link between two different representations of the same object. Because visual recognition decreases cognitive load, objects are seamlessly animated. We use animation to illustrate all changes in the working environment, i.e. the arrival of a new participant, the telepointer is always animated. There are two basic objects in our workspace: the actors and the artefacts. The actors are representations of the remote users or of artificial assistants. The artefacts are the applications and the interaction tools.The Conference tableThe metaphor used by the interface is the con- ference table. It corresponds to a single activity (our task-oriented interface solves the (b) shortcoming of the 2D interface, see Introduction). This activity is divided spatially and semantically into two parts. The first is asimulated panoramic view on which actors and sharedapplications are displayed. Second, within this view there is a workspace located near the center of the simulated panoramic screen, where the user can easily manipulate a specific document. The actors and the shared applications (2D and 3D) are placed side by side around the table (Fig. 4), and in the interest of comfort, there is one document or actor per 'wail'. As many applications as desired may be placed in a semi-circle so that all of the applications remain visible. The user can adjust the screen so that the focus of her attention is in the center; this type of motion resembles head- turning. The workspace is seamless and intuitive,Fig, 4. Objects placed around our virtual table.And simulates a real meeting where there are several people seated around a table. Participants joining the meeting and additional applications are on an equal footing with those already present. Our metaphor solves the (c) shortcoming of the 2D interface (see Introduction),DistortionIf the number of objects around the table increases, they become too thin to be useful. To resolve this problem we have defined a focus-of-attention zone located in the center of the screen. Documents on either side of this zone are distorted (Fig.5). Distortion is symmetrical in relation to the coordinate frame x=0. Each object is uniformly scaled with the following formula: x'=l-(1-x) '~, O<x<l< bdsfid="116" p=""></x<l<>Where is the deformation factor. When a= 1 the scene is not distorted. When all, points are drawn closer to the edge; this results in centrally positioned objects being stretched out, while those in the periphery are squeezed towards the edge. This distortion is similar to a fish-eye with only one dimension [28].By placing the main document in the centre of the screen and continuing to display all the other documents, our model simulates a human field of vision (with a central zone and a peripheral zone). By reducing the space taken up by less important objects, an 'everything perceivable' situation is obtained and, although objects on the periphery are neither legible nor clear, they are visible and all the information is available on the screen. The number of actors and documents that it is possible to place around the table depends, for the most part, on screen resolution. Our project is designed for small meetings with four people for example (three clones) and a few documents (three for example). Under these conditions, if participants are using 17-inch, 800 pixels screens all six objects are visible, and the system works.Everything VisibleWith this type of distortion, the important applications remain entirely legible, while all others are still part of the environment. When the simulated panoramic screen is reoriented, what disappears on one side immediately reappears on the other. This allows the user to have all applications visible in the interface. In CSCW it is crucial that each and every actor and artefact taking part in a task are displayed on the screen (it solves the (a) shortcoming of 2D interface, see Introduction),A Focus-of-Attention AreaWhen the workspace is distorted in this fashion, the user intuitively places the application on which she is working in the center, in the focus-of- attention area. Clone head movements correspond to changes of the participants' focus of attention area. So, each participant sees theother participants' clones and is able to perceive their headmovements. It gives users the impression of establishing eye contact and reinforces gaze awareness without the use of special devices. When a participant places a private document (one that is only visible on her own interface) in her focus in order to read it or modify it, her clone appears to be looking at the conference table.In front of the simulated panoramic screen is the workspace where the user can place (and enlarge) the applications (2D or 3D) she is working on, she can edit or manipulate them. Navigation is therefore limited to rotating the screen and zooming in on the applications in the focus-of-attention zone.ConclusionIn the future, research needs to be oriented towards clone animation, and the amount of information clones can convey about participant activity. The aim being to increase user collaboration and strengthen the feeling of shared presence. New tools that enable participants to adopt another participant's point of view or to work on another participant's document, need to be introduced. Tools should allow for direct interaction with documents and users. We will continue to develop visual metaphors that will provide more information about shared documents, who is manipulating what, and who has the right to use which documents, etc. In order to make Spin more flexible, it should integrate standards such as VRML 97, MPEG 4, and CORBA. And finally, Spin needs to be extended so that it can be used with bigger groups and more specifically in learning situations.旋转:3D界面的协同工作摘要:本文提出了一种三维用户界面的同步协同工作—旋转,它是为多用户同步实时应用程而设计,可用于例如会议和学习情况。
flash动画教学案例设计及研究专业外文翻译
滨州学院专业外文翻译题目The History of the Internet系(院)计算机科学技术系专业软件技术班级2008级3班学生姓名刘俊杰学号2008111012指导教师杨静职称助教二〇一一年五月四日The History of the InternetThe Beginning - ARPAnetThe Internet started as a project by the US government. The object of the project was to create a means of communications between long distance points, in the event of a nation wide emergency or, more specifically, nuclear war. The project was called ARPAnet, and it is what the Internet started as. Funded specifically for military communication, the engineers responsible for ARPANet had no idea of the possibilities of an "Internet."By definition, an 'Internet' is four or more computers connected by a network.ARPAnet achieved its network by using a protocol called TCP/IP. The basics around this protocol was that if information sent over a network failed to get through on one route, it would find another route to work with, as well as establishing a means for one computer to "talk" to another computer, regardless of whether it was a PC or a Macintosh.By the 80's ARPAnet, just years away from becoming the more well known Internet, had 200 computers. The Defense Department, satisfied with ARPAnets results, decided to fully adopt it into service, and connected many military computers and resources into the network. ARPAnet then had 562 computers on its network. By the year 1984, it had over 1000 computers on its network.In 1986 ARPAnet (supposedly) shut down, but only the organization shutdown, and the existing networks still existed between the more than 1000computers. It shut down due to a failied link up with NSF, who wanted toconnect its 5 countywide super computers into ARPAnet.With the funding of NSF, new high speed lines were successfully installedat line speeds of 56k (a normal modem nowadays) through telephone linesin 1988. By that time, there were 28,174 computers on the (by then decided) Internet. In 1989 there were 80,000 computers on it. By 1989, there were 290,000.Another network was built to support the incredible number of peoplejoining. It was constructed in 1992.Today - The InternetToday, the Internet has become one of the most important technological advancements in thehistory of humanity. Everyone wants to get 'on line' to experience the wealth of information of the Internet. Millions of people now use the Internet, and it's predicted that by the year 2003 every single person on the planet will have Internet access. The Internet has truly become a way of life in our time and era, and is evolving so quickly its hard to determine where it will go next, as computer and network technology improve every day.HOW IT WORKS:It's a standard thing. People using the Internet. Shopping, playing games,conversing in virtual Internet environments.The Internet is not a 'thing' itself. The Internet cannot just "crash." It functions the same way as the telephone system, only there is no Internet company that runs the Internet.The Internet is a collection of millioins of computers that are all connected to each other, or have the means to connect to each other. The Internet is just like an office network, only it has millions of computers connected to it.The main thing about how the Internet works is communication. How does a computer in Houston know how to access data on a computer in Tokyo to view a webpage?Internet communication, communication among computers connected to the Internet, is based on a language. This language is called TCP/IP. TCP/IP establishes a language for a computer to access and transmit data over the Internet system.But TCP/IP assumes that there is a physical connecetion between one computer and another. This is not usually the case. There would have to be a network wire that went to every computer connected to the Internet, but that would make the Internet impossible to access.The physical connection that is requireed is established by way of modems,phonelines, and other modem cable connections (like cable modems or DSL). Modems on computers read and transmit data over established lines,which could be phonelines or data lines. The actual hard core connections are established among computers called routers.A router is a computer that serves as a traffic controller for information.To explain this better, let's look at how a standard computer might view a webpage.1. The user's computer dials into an Internet Service Provider (ISP). The ISP might in turn be connected to another ISP, or a straight connection into the Internet backbone.2. The user launches a web browser like Netscape or Internet Explorer and types in an internet location to go to.3. Here's where the tricky part comes in. First, the computer sends data about it's data request to a router. A router is a very high speed powerful computer running special software. The collection of routers in the world make what is called a "backbone," on which all the data on the Internet is transferred. The backbone presently operates at a speed of several gigabytes per-second. Such a speed compared to a normal modem is like comparing the heat of the sun to the heat of an ice-cube.Routers handle data that is going back and forth. A router puts small chunks of data into packages called packets, which function similarly to envelopes. So, when the request for the webpage goes through, it uses TCP/IP protocols to tell the router what to do with the data, where it's going, and overall where the user wants to go.4. The router sends these packets to other routers, eventually leading to the target computer. It's like whisper down the lane (only the information remains intact).5. When the information reaches the target web server, the webserver then begins to send the web page back. A webserver is the computer where the webpage is stored that is running a program that handles requests for the webpage and sends the webpage to whoever wants to see it.6. The webpage is put in packets, sent through routers, and arrive at the users computer where the user can view the webpage once it is assembled.The packets which contain the data also contain special information that lets routers and other computers know how to reassemble the data in the right order.With millions of web pages, and millions of users, using the Internet is not always easy for a beginning user, especially for someone who is not entirely comfortale with using computers. Below you can find tips tricks and help on how to use main services of the Internet.Before you access webpages, you must have a web browser to actually be able to view the webpages. Most Internet Access Providers provide you with a web browser in the software they usually give to customers; you. The fact that you are viewing this page means that you have a web browser. The top two use browsers are Netscape Communicator and Microsoft Internet Explorer. Netscape can be found at and MSIE can be found at .The fact that you're reading this right now means that you have a web browser.Next you must be familiar with actually using webpages. A webpage is a collection of hyperlinks, images, text, forms, menus, and multimedia. To "navigate" a webpage, simply click the links it provides or follow it's own instructions (like if it has a form you need to use, it will probably instruct you how to use it). Basically, everything about a webpage is made to be self- explanetory. That is the nature of a webpage, to be easily navigatable."Oh no! a 404 error! 'Cannot find web page?'" is a common remark made by new web-users.Sometimes websites have errors. But an error on a website is not the user's fault, of course.A 404 error means that the page you tried to go to does not exist. This could be because the site is still being constructed and the page hasn't been created yet, or because the site author made a typo in the page. There's nothing much to do about a 404 error except for e-mailing the site administrator (of the page you wanted to go to) an telling him/her about the error.A Javascript error is the result of a programming error in the Javascript code of a website. Not all websites utilize Javascript, but many do. Javascript is different from Java, and most browsers now support Javascript. If you are using an old version of a web browser (Netscape 3.0 for example), you might get Javascript errors because sites utilize Javascript versions that your browser does not support. So, you can try getting a newer version of your web browser.E-mail stands for Electronic Mail, and that's what it is. E-mail enables people to send letters, and even files and pictures to each other.To use e-mail, you must have an e-mail client, which is just like a personal post office, since it retrieves and stores e-mail.Secondly, you must have an e-mail account. Most Internet Service Providers provide free e-mail account(s) for free. Some services offer free e-mail, like Hotmail, and Geocities.After configuring your e-mail client with your POP3 and SMTP server address (your e-mail provider will give you that information), you are ready to receive mail.An attachment is a in a letter. If someone sends you an attachment and you don't know who it is, don't run the file, ever. It could be a virus or some other kind of nasty programs. You can't get a virus just by reading e-mail, you'll have to physically execute some form of program for a virus to strike.A signature is a feature of many e-mail programs. A signature is added to the end of every e-mail you send out. You can put a text graphic, your business information, anything you want.Imagine that a computer on the Internet is an island in the sea. The sea is filled with millions of islands. This is the Internet. Imagine an island communicates with other island by sending ships to other islands and receiving ships. The island has ports to accept and send out ships.A computer on the Internet has access nodes called ports. A port is just a symbolic object that allows the computer to operate on a network (or the Internet). This method is similar to the island/ocean symbolism above.Telnet refers to accessing ports on a server directly with a text connection. Almost every kind of Internet function, like accessing web pages,"chatting," and e-mailing is done over a Telnet connection.Telnetting requires a Telnet client. A telnet program comes with the Windows system, so Windows users can access telnet by typing in "telnet" (without the "'s) in the run dialog. Linux has it built into the command line; telnet. A popular telnet program for Macintosh is NCSA telnet.Any server software (web page daemon, chat daemon) can be accessed via telnet, although they are not usually meant to be accessed in such a manner. For instance, it is possible to connect directly to a mail server and check your mail by interfacing with the e-mail server software, but it's easier to use an e-mail client (of course).There are millions of WebPages that come from all over the world, yet how will you know what the address of a page you want is?Search engines save the day. A search engine is a very large website that allows you to search it's own database of websites. For instance, if you wanted to find a website on dogs, you'd search for "dog" or "dogs" or "dog information." Here are a few search-engines.1. Altavista () - Web spider & Indexed2. Yahoo () - Web spider & Indexed Collection3. Excite () - Web spider & Indexed4. Lycos () - Web spider & Indexed5. Metasearch () - Multiple searchA web spider is a program used by search engines that goes from page to page, following any link it can possibly find. This means that a search engine can literally map out as much of the Internet as it's own time and speed allows for.An indexed collection uses hand-added links. For instance, on Yahoo's site. You can click onComputers & the Internet. Then you can click on Hardware. Then you can click on Modems, etc., and along the way through sections, there are sites available which relate to what section you're in.Metasearch searches many search engines at the same time, finding the top choices from about 10 search engines, making searching a lot more effective.Once you are able to use search engines, you can effectively find the pages you want.With the arrival of networking and multi user systems, security has always been on the mind of system developers and system operators. Since the dawn of AT&T and its phone network, hackers have been known by many, hackers who find ways all the time of breaking into systems. It used to not be that big of a problem, since networking was limited to big corporate companies or government computers who could afford the necessary computer security.The biggest problem now-a-days is personal information. Why should you be careful while making purchases via a website? Let's look at how the internet works, quickly.The user is transferring credit card information to a webpage. Looks safe, right? Not necessarily. As the user submits the information, it is being streamed through a series of computers that make up the Internet backbone. The information is in little chunks, in packages called packets. Here's the problem: While the information is being transferred through this big backbone, what is preventing a "hacker" from intercepting this data stream at one of the backbone points?Big-brother is not watching you if you access a web site, but users should be aware of potential threats while transmitting private information. There are methods of enforcing security, like password protection, an most importantly, encryption.Encryption means scrambling data into a code that can only be unscrambled on the "other end." Browser's like Netscape Communicator and Internet Explorer feature encryption support for making on-line transfers. Some encryptions work better than others. The most advanced encryption system is called DES (Data Encryption Standard), and it was adopted by the US Defense Department because it was deemed so difficult to 'crack' that they considered it a security risk if it would fall into another countries hands.A DES uses a single key of information to unlock an entire document. The problem is, there are 75 trillion possible keys to use, so it is a highly difficult system to break. One document was cracked and decoded, but it was a combined effort of 14,000 computers networked over the Internet that took awhile to do it, so most hackers don't have that many resources available.因特网的历史起源——ARPAnet因特网是被美国政府作为一项工程进行开发的。
动画设计外文文献翻译
文献出处:Amidi, Amid. Cartoon modern: style and design in fifties animation. Chronicle Books, (2006):292-296.原文Cartoon Modern: Style and Design in Fifties AnimationAmidi, AmidDuring the 1970s,when I was a graduate student in film studies, UPA had a presence in the academy and among cinephiles that it has since lost. With 16mmdistribution thriving and the films only around twenty years old, one could still see Rooty Toot Toot or The Unicorn in the Garden occasionally. In the decades since, UPA and the modern style it was so central in fostering during the 1950s have receded from sight. Of the studio's own films, only Gerald McBoing Boing and its three sequels have a DVD to themselves, and fans must search out sources for old VHScopies of others. Most modernist-influenced films made by the less prominent studios of the era are completely unavailable.UPA remains, however, part of the standard story of film history. Following two decades of rule by the realist-oriented Walt Disney product, the small studio boldly introduced a more abstract, stylized look borrowed from modernism in the fine arts. Other smaller studios followed its lead. John Hubley, sometimes in partnership with his wife Faith, became a canonical name in animation studies. But the trend largely ended after the 1950s. Now its importance is taken for granted. David Bordwell and I followed the pattern by mentioning UPA briefly in our Film History: An Introduction, where we reproduce a black-and-white frame from the Hubleys' Moonbird, taken from a worn 16 mm print. By now, UPA receives a sort of vague respect, while few actually see anything beyond the three or four most famous titles.All this makes Amid Amidi's Cartoon Modern an important book. Published in an attractive horizontal format well suited to displaying film images, it provides hundreds of color drawings, paintings, cels, storyboards, and other design images from 1950s cartoons that display the influence of modern art. Amidi sticks to the U.S. animation industry and does not cover experimental work or formats other than cel animation. The book brings the innovative style of the 1950s back to our attention and provides a veritable archive of rare, mostly unpublished images for teachers, scholars, and enthusiasts. Seeking these out and making sure that they reproduced well, with a good layout and faithful color, was a major accomplishment, and the result is a great service to the field.The collection of images is so attractive, interesting, and informative, that it deserved an equally useful accompanying text. Unfortunately, both in terms of organization and amount of information provided, the book has major textual problems.Amidi states his purpose in the introduction: "to establish the place of 1950s animation design in the great Modernist tradition of the arts". In fact, he barely discusses modernism across the arts. He is far more concerned with identifying the individual filmmakers, mainly designers, layout artists, and directors, and with describing how the more pioneering ones among them managed to insert modernist style into the products of what he sees as the old-fashioned, conservative animation industry of the late 1940s. When those filmmakers loved jazz or studied at an art school or expressed an admiration for, say, Fernand Léger, Amidimentions it. He may occasionally refer to Abstract Expressionism or Pop Art, but he relies upon the reader to come to the book already knowing the artistic trends of the twentieth century in both America and Europe. At least twice he mentions that Gyorgy Kepes's important1944 book The Language of Vision was a key influence on some of the animators inclined toward modernism, but he never explains what they might have derived from it. There is no attempt to suggest how modernist films (e.g. Ballet mécanique, Das Cabinet des Dr. Caligari) might have influenced those of Hollywood. On the whole, the other arts and modernism are just assumed, without explanation or specification, to be the context for these filmmakers and films.There seem to me three distinct problems with Amidi's approach: his broad, all-encompassing definition of modernism; his disdain for more traditional animation, especially that of Disney; and his layout of the chapters.For Amidi, "modern" seems to mean everything from Abstract Expressionism to stylized greeting cards. He does not distinguish Cubism from Surrealism or explain what strain of modernism he has in mind. He does not explicitly lay out a difference between modernist-influenced animation and animation that is genuinely a part of modern/modernist art. Thus there is no mention of figures like Oskar Fischinger and Mary Ellen Bute, though there seems a possibility that their work influenced the mainstream filmmakers dealt with in the book.This may be because Amidi sees modernism's entry into American animation only secondarily as a matter of direct influences from the other arts. Instead, for him the impulse toward modernism is as a movement away from conventional Hollywood animation. Disney is seen as having during the 1930s and 1940s established realism as the norm, so anything stylized would count as modernism. Amidi ends up talking about a lot of rather cute, appealing films as if they were just as innovative as the work of John Hubley. At one point he devotes ten pages to the output of Playhouse Pictures, a studio that made television ads which Amidi describes as "mainstream modern" because "it was driven by a desire to entertain and less concerned withmaking graphic statements". I suspect Playhouse rates such extensive coverage largely because its founder, Adrian Woolery, had worked as a production manager and cameraman at UPA. At another point Amidi refers to Warner Bros. animation designer Maurice Noble's work as "accessible modernism".This willingness to cast the modernist net very wide also helps explain why so many conventional looking images from ads are included in the book. Amidi seems not to have considered the idea that there could be a normal, everyday stylization that has a broad appeal and might have derived ultimately from some modernist influence that had filtered out, not just into animation, but into the culture more generally.There was such a popularization of modern design in the 1940s and especially the 1950s, and it took place across many areas of American popular culture, including architecture, interior design, and fashion. Thomas Hine has dealt with it in his 1999 book, Populuxe: From Tailfins and TV Dinners to Barbie Dolls and Fallout Shelters. Hines doesn't cover film, but the styles that we can see running through the illustrations in Cartoon Modern have a lot in common with those in Populuxe. Pixar pays homage to them in the design of The Incredibles.Second, Amidi seeks to establish UPA's importance by casting Walt Disney as his villain. Here Disney stands in for the whole pre-1950s Hollywood animation establishment. For the author, anything that isn't modern style is tired and conservative. His chapter on UPA begins with an anecdote designed to drive that point home. It describes the night in 1951 when Gerald McBoing Boing won the Oscar for best animation of 1950, while Disney, not even nominated in the animation category, won for his live-action short, Beaver Valley. UPA president Stephen Bosustow and Disney posed together, with Bosustow described as looking younger and fresher than his older rival. Disney was only ten years older, but to Amidi,Bosustow's "appearance suggests the vitality and freshness of the UPA films when placed against the tired Disney films of the early 1950s".That line perplexed me. True, Disney's astonishing output in the late 1930s and early 1940s could hardly be sustained, either in quantity or quality. But even though Cinderella (a relatively lightweight item) and the shorts become largely routine, few would call Peter Pan, Alice in Wonderland, and Lady and the Tramp tired. Indeed, the two Disney features that Amidi later praises for their modernist style, Sleeping Beauty and One Hundred and One Dalmatians, are often taken to mark the beginning of the end of the studio's golden age.In Amidi's view, other animation studios, including Warner Bros., were similarly resistant to modernism on the whole, though there were occasional chinks in their armor. The author selectively praises a few individual innovators. A very brief entry on MGM mentions Tex Avery, mainly for his 1951 short, Symphony in Slang. Warner Bros.' Maurice Noble earns Amidi's praise; he consistently provided designs for Chuck Jones's cartoons, most famously What's Opera, Doc?The book's third problem arises from the decision to organize it as a series of chapters on individual animation studios arranged alphabetically. There's at least some logic to going in chronological order or thematically, or even by the studios in order of their importance. Alphabetical is arbitrary, rendering the relationship between studios haphazard. An unhappy byproduct of this strategy is that the historically most salient studios come near the end of the alphabet. After chapters on many small, mostly unfamiliar studios, we at last reach the final chapters: Terrytoons, UPA, Walt Disney, Walter Lantz, Warner Bros. Apart from Lantz, these are the main studios relevant to the topic at hand. Amidi prepares the reader with only a brief introduction and no overview, so there is no setup of why UPA is so important or what contextDisney provided for the stylistic innovations that are the book's main subject.译文现代卡通,50年代的动画风格和设计Amidi, Amid在20世纪70年代,当我还是一个电影专业的研究生时,美国联合制片公司UPA就受到了学院和影迷们的关注。
Flash动画设计中英文对照外文翻译文献
Flash动画设计中英文对照外文翻译文献动画设计中英文对照外文翻译文献Flash动画设计中英文对照外文翻译文献(文档含英文原文和中文翻译)Flash 动画1 引言 在现代教学中,传统的教学已经不能满足现代教学的要求,这对教学方式和教师等都提出了更高的要求,所以对于Flash 制作动画课件的研制有着极为重要的意义。
的意义。
Flash Flash 不仅能使学习者加深对所学知识的理解,提高学生的学习兴趣和教师的教学效率,同时也能为课件增加生动的艺术效果,有助于学科知识的表达和传播。
为了为学生提供直观的实验过程,提高学生的学习效率,和传播。
为了为学生提供直观的实验过程,提高学生的学习效率,Flash Flash 动画在教学中的应用十分必要。
本论文以制作蛋白质透析动画为例,阐述了利用拥有强大能力和独特的交互性的Flash8.0Flash8.0制作实验动画的整个过程和有关事宜。
制作实验动画的整个过程和有关事宜。
制作实验动画的整个过程和有关事宜。
2 什么是FlashFlash 是一种创作工具,设计人员和开发人员可使用它来创建演示文稿、应用程序和其它允许用户交互的内容。
用程序和其它允许用户交互的内容。
Flash Flash 可以包含简单的动画、可以包含简单的动画、视频内容、视频内容、视频内容、复复杂演示文稿和应用程序以及介于它们之间的任何内容。
通常,使用杂演示文稿和应用程序以及介于它们之间的任何内容。
通常,使用 Flash Flash 创作创作的各个内容单元称为应用程序,即使它们可能只是很简单的动画。
您可以通过添加图片、声音、视频和特殊效果,构建包含丰富媒体的加图片、声音、视频和特殊效果,构建包含丰富媒体的 Flash Flash 应用程序。
应用程序。
应用程序。
Flash 特别适用于创建通过特别适用于创建通过 Internet Internet 提供的内容,因为它的文件非常小。
提供的内容,因为它的文件非常小。
关于动画的英语作文80
关于动画的英语作文80In the realm of visual storytelling, where imagination takes flight and dreams dance across the screen, animation holds a captivating allure that transcends age and culture. From the whimsical world of Disney to the thought-provoking artistry of Studio Ghibli, animation has the power to ignite our imaginations, stir our emotions, and transport us to worlds beyond our wildest dreams.As a lifelong devotee of animation, I have witnessed firsthand its transformative power. It was through the vibrant hues and fluid movements of animated films that I first discovered the magic of storytelling. The characters became my companions, their adventures my own. Each frame was a portal to a realm where anything was possible, where laughter mingled with tears and the boundaries of reality blurred.The beauty of animation lies in its boundless possibilities. It allows artists to create worlds that defy the laws of physics, characters that defy categorization, and stories that resonate with audiences of all ages. Through the magic of hand-drawn artistry or the precision of computer-generated imagery, animators breathe life into their creations, imbuing them with personalities, emotions, and dreams that mirror our own.One of the most profound aspects of animation is its ability to evoke emotions. From the heartwarming tale of a lost toy's journey home in "Toy Story" to the poignant exploration of grief and memory in "Coco," animation has the unique ability to touch our hearts in ways that live-action films often cannot. It allows us to experience the full spectrum of human emotions, from unbridled joy to profound sorrow, and to find solace and inspiration in the shared experiences of animated characters.Beyond its emotional impact, animation also serves as a powerful tool for social commentary and culturalexploration. Films like "Spirited Away" and "Zootopia" use their fantastical settings to address real-world issues such as environmentalism, social inequality, and the search for identity. By presenting these themes through the lens of animation, filmmakers can engage audiences in a more accessible and entertaining way, sparking conversations and fostering empathy.As technology continues to advance, the possibilities of animation expand exponentially. Virtual reality and augmented reality are blurring the lines between the real and the animated, creating immersive experiences that transport us into the worlds of our favorite characters. Motion capture technology allows animators to capture the subtle nuances of human movement, resulting in characters that feel more lifelike and relatable than ever before.In the ever-evolving landscape of entertainment, animation remains a constant source of wonder and inspiration. It has the power to captivate our imaginations, stir our emotions, and challenge our perceptions of theworld. Whether it's the timeless classics of Disney or the groundbreaking innovations of contemporary animators, animation continues to push the boundaries of storytelling, leaving an enduring legacy that will continue to enchant generations to come.In the words of Hayao Miyazaki, the legendary Japanese animator, "Animation is not just about creating moving images. It is about capturing a piece of the animator's soul and transferring it to the screen." And it is in this transfer of soul that the true magic of animation lies. It is the animator's passion, imagination, and love for their craft that breathes life into the characters and stories we cherish.As I continue my journey through the animated realm, I am filled with a sense of gratitude for the countless hours of joy, inspiration, and wonder that it has brought into my life. Animation is more than just a form of entertainment; it is an art form that has the power to transcend language, culture, and time. It is a universal language that speaksto the human spirit, reminding us that anything is possible if we dare to dream.。
三维动画设计外文翻译文献
文献信息:文献标题:Aesthetics and design in three dimensional animation process(三维动画过程中的美学与设计)国外作者:Gokce Kececi Sekeroglu文献出处:《Procedia - Social and Behavioral Sciences》, 2012 , 51 (6):812-817字数统计:英文2872单词,15380字符;中文4908汉字外文文献:Aesthetics and design in three dimensional animation processAbstract Since the end of the 20th century, animation techniques have been widely used in productions, advertisements, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all production industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gives the producer the option of applying the technique in either two dimensional (2D) or three dimensional (3D), depending on the given time frame, scenario and content. In the 21st century cinema and television industry, computer animations have become more important than ever. Imaginary characters or objects, as well as people, events and places that are either difficult or costly, or even impossible to shoot, can now be produced and animated through computer modelling techniques. Nowadays, several sectors are benefiting from these specialised techniques. Increased demand and application areas have put the questions of aesthetics and design into perspective, hence introducing a new point of view to the application process. Coming out of necessity, 3D computer animations have added a new dimension to the field of art and design, and they have brought in the question of artistic and aesthetic value in such designs.Keywords: three dimension, animation, aesthetics, graphics, design, film1.IntroductionCenturies ago, ancient people not only expressed themselves by painting still images on cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural course of events in history. Such concern contributed greatly to the animation and cinema history.First examples of animation, which dates back approximately four centuries ago, represents milestones in history of cinema. Eadweard J. Muybridge took several photographs with multiple cameras (Figure 1) and assembled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credited as inventing the first motion picture and the creator of cinematography (1895).Figure 1. Eadweard J. Muybridge’s first animated pictureJ. Stuart Blackton clearly recognised that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. Inparticular, his movie titled The Haunted Hotel (1907) included impressive supernatural sequences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)“Praxinoscope”- invented by Frenchman Charles-Émile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern sense of the word. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that were produced through these animations, such as Little Nemo (1911), Gertie the Dinosaur (1914), The Sinking of the Lusitania (1918), Little Red Riding Hood (1922), The Four Musicians of Bremen (1922) Mickey Mouse(1928), Snow White and the Seven Dwarfs (1937).Nazi regime in Germany leads to several important animation film productions. When Goebbels could no longer import Disney movies, he commissioned all animation studios to develop theatrical cartoons. Upon this, Hans Fischerkoesen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).In due course, animated films became increasingly popular, resulting in new and sizable sectors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the indispensable part of the modern day television and cinema.The American animated movie Aladdin grossed over 495 million dollars worldwide, and represented the success of the American animation industry, which then led to an expansion into animated movies which targeted adults (Aydın, 2010:110).Japan is possibly just as assertive in the animation films as America. Following the success of the first Japanese animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japanese animes became ever so popular, which led to continuousinternational success. For example, the movie titled Spirited Away won an Oscar for Best Animated Feature Film, and became the winner of the top prize at this year's Berlin film festival. Following their ever-increasing success in anime production, Japan became one of the most sought after hubs of animation industry by European and American companies interested in collaboration.Figure 2. The White Snake Enchantress 19582.Three Dimensional AnimationThe development of animation techniques, a process that can be traced back to the 18th century brought with it a thematic variety in animation genres. Today, animation techniques based on cartoons, puppets, stop-motion, shadow, cut-out and time lapse can be applied both manually and based on digital technology. Furthermore the use of 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a central role today in cinema, TV, education and video games alike, and their creative processes in both realistic and surreal terms seem to know no limits. This new medium that with its magical powers makes the impossible possible and defies the laws of physic (Gökçearslan, 2008: 1) open a door for designers and artists to anunlimited imagination. "In particular in the movies of the 80s, computer-aided animated effects turned out to be life-savers, and the feature film Terminator 2 (1991) in which 3D animation technology was used for the first time received praise from both audience and film critics" (Kaba, 1992: 19). Toy Story (Walt Disney Pictures, 1995), a film that became very popular among audiences of all ages due to its script, characters, settings and animation technique, was the first fully 3D animated feature film in history, and was followed by two sequels.By help of the support coming from the homeland, and its form oriented realistic format, Disney characters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as horses, deer, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (Gökçearslan, 2009:80).Another American movie "Shrek" (2001) created by William Steig, whose book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film, attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of "value judgement" is simplified in a way that it is also understood by children. These are amongst two undeniable factors which are thought to have contributed to the worldwide success of the movie.Most successful 3D animation movies are of American make. The importance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.“The era of the post-photographic film has arrived, and it is clear that for the animator, the computer is essentially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc. Consequently, it remains important to note that while Europe has retained a tradition of auteurist film making, also echoed elsewhere in Russia, China, and Japan, the United States has often immersed its animation within a Special Effects tradition, and as an adjunct to live action cinema.” (Wells, 2002:2).3.Aesthetics and Design in Three Dimensional AnimationsLow-budget and high-budget 3D animation movies go through the same process, regardless. This process is necessary in order to put several elements together properly.The first step is to write up a short text called synopsis, which aims to outline the movie plot, content and theme. Following the approval of the synopsis, the creative team moves on to storyboarding, where illustrations or images are displayed in sequence for the purpose of visualising the movie (Figure 3). Storyboarding process reflects 3D animator's perspective and the elements that are aimed to be conveyed to the audience. The animation artists give life to a scenario, and add a touch of their personality to the characters and environment. “"Gone With The Wind" is the first movie where the storyboarding technique, which was initially used in Walt Disney Studios during the production process of animated movies, was used for a non-animation movie, and since the 1940's, it has been an indispensible part of the film industry.Figure 3: Toy Story, storyboarding, PixarStory board artists are the staple of film industry, and they are the ones who either make or break the design and aesthetics of the movie. While they their mainresponsibility is to enframe the movie scenes with aesthetics and design quality in mind, they are also responsible for incorporating lights, shadows and colours in a way that it enhances the realistic features of the movie.The next step following storyboarding, is "timing" which is particularly important in determining the length of scenes, by taking the script into consideration. In order to achieve a realistic and plausible product, meticulous mathematical calculations are required.The next important step is to create characters and environment in 3D software, and finalise the production in accordance with the story-board. While character and objects are modelled in 3D software, such as 3Ds Max, Cinema 4D , Houdini, Maya, Lightwave, the background design is also created with digital art programs such as Photoshop, Illustrator, Artage, depending on the type or content of the movie (Figure: 4). Three dimensional modelling is the digital version of sculpturing. In time, with ever-changing technology, plastic arts have improved and become varied, leading to a new form of digital art, which also provides aesthetic integrity in terms of technique and content. Same as manually produced art work, 3D creations are also produced by highly skilled artist with extensive knowledge of anatomy, patterns, colours, textures, lights and composition. Such artists and designers are able to make use of their imagination and creativity, and take care of both technical and aesthetic aspects of creating an animated movie.Figure 4: Examples of 3D modelling (left) and background (right).In a movie, the colour, light and shadow elements affect the modelled character, setting and background to a very large extent. Three dimensional computer graphics software provides a realistic virtual studio and endless source of light combinations.Hence, the message and feeling is conveyed through an artistically sensitive and aesthetically pleasing atmosphere, created with a certain combination of light and colours. Spot light, omni, area and direct lights are a few examples to the types of options that can be used on their own or as a combination. For example, in 3D animations the 'direct light' source can be used outdoors as an alternative for the sun, whereas the 'area light' which uses vertical beams can help smooth out the surface by spreading the light around, which makes it ideal for indoors settings. Blue Sky Studio's 3D movie called “Ice Age” (Figure 5) produced in 2001 achieved a kind of unique and impressive technology-driven realistic technique with clever use of lights and colours, becoming one of the first exceedingly successful 3D animations of the period.Figure 5: “Ice Age”, Blue Sky Studios, 2001Following the modelling and finishing touches of other visual elements, each scene is animated one by one. “Actions assigned to each and every visual element within the scene have to have a meaningful connection with the story, in terms of form and content. In fact, the very fundamental principle of computer animations is that each action within the scene serves a certain purpose, and the design within the frame creates visual pleasure” . Underscoring element is also expected to complement the visuals and be in harmony with the scene. It is an accepted fact that a good visual is presented along with suitable music, affects the audience in emotional and logicalsense a lot more than it would have done so otherwise. For that reason, underscores are just as important as other audio elements, such as voiceovers and effects, when it comes to visual complements. Sound is an indispensable part of life and nature, therefore it can be considered as a fundamental means of storytelling. Clever and appropriate use of sound is very effective in maintaining the audience's attention and interest.In order to produce a meaningful final product in the editing phase, a careful process of storyboarding and timing have to be carried out. Skilfully executed editing can add rhythm and aesthetics to scenes. The integrity of time, setting, audio and atmosphere within a movie is also profusely important in terms of conveying the semantic rhythm. Meticulously timed fade-out, fade-in, radiance or smoke effects would allow the audience to follow the story more attentively and comfortably, and it would also establish consistency in terms of aesthetics of the movie itself.4. ConclusionNo matter how different the technological circumstances are today, and used to be back in the ancient times when humans painted images on cave surfaces, human beings have always been fascinated with visual communication. Since then, they have been striving to share their experiences, achievements, wishes and dreams with other people, societies or masses. For the same purpose, people have been painting, acting, writing plays, or producing movies. Incessant desire to convey a message through visual communication brought about the invention of the cinema, and since the 18th century, it has become an essential means of presenting ideas, thoughts or feelings to masses. 3D animations, which were mainly used in advertisements, commercials, education and entertainment related productions in the 2000's, brought about many blockbuster 3D movies.When recorded with a camera, the three dimensional aspect of reality is lost, and turned into two dimensions. In 3D animations, the aim is to emulate the reality and present the audience an experience as close to the real life as possible. “Human eye is much more advanced than a video camera. infinite sense of depth and the ability tofocus on several objects at the same time are only a few of many differences between a camera and the human eye. Computer-produced visuals would give the same results as the camera. Same as painting and photography, it aims to interpret the three dimensional world in a two dimensional form.” As a result, 3D animations have become just as important as real applications, and thanks to their ability to produce scenes that are very difficult, even impossible to emulate, they have actually become a better option. Big companies such as Walt Disney, Pixar, and Tree Star have been making 3D animations which appeal to both children and adults worldwide. Successful productions include the elements of appropriate ideas, decent content, combined with expert artists and designers with technical backgrounds. For that reason, in order to establish good quality visual communication and maintain the audience's attention, art and design must go hand in hand. Sometimes, being true to all the fundamental design principles may not be enough to achieve an aesthetically pleasing scene. In order to achieve an aesthetically pleasing scene, warmth and sincerity, which are typical attributes of human beings, must be incorporated into the movie. The modelling team, which functions as the sculptor and creates authentic materials like a painter, teams up with creative story-board artists, and texture and background artists, to achieve an artistically valuable work. In order to achieve plausibility and an aesthetically valuable creation, it is important that colour, light, shadow and textures used during the process are true to real life. Camera angles, speed and direction of movement, the sequence of the scenes and their harmony with the underscoring are essential in determining the schematic and aesthetic quality of a movie.In conclusion, Art does not teach. Rather, art presents the full and concrete reality of the end target. What art does is presents things "as they should be or could have been", which helps people attain such things in real life. However, this is just a secondary benefit of art. The main benefit of art is that it provides people with a taste of what "things would be like if they were the way they were supposed to be" in real life. Such an experience is essential to human life. Surely, people cannot watch a movie with the schematic or aesthetic quality of it in mind. However, as the movieprogresses, a visual language settles into the spectator's subconsciousness, creating a sense of pleasure. Walter Benjamin claims that a spectator analysing a picture is able to abandon himself to his associations. However, this is not the case for people watching a movie at the cinema. Rather, the cinema audience can only build associations after they have watched the movie, therefore the process of perception is delayed. (Benjamin, 1993:66).中文译文:三维动画过程中的美学与设计摘要自20世纪末以来,动画技术在生产、广告、电影、商业、节目、视觉效果等方面得到了广泛的应用,并已经成为影视业不可或缺的组成部分。
英语作文介绍动画
The Magic of Animation: Bridging Culturesand ImaginationsIn the world of visual arts, animation stands out as a unique and captivating form of expression. It is not merely a collection of moving images but a medium that transports us to different worlds, telling stories that are both fantastical and profound. The art of animation has a rich history, evolving over time to embrace various styles and techniques. This essay delves into the essence of animation, exploring its impact on culture, technology, and the imaginations of millions.Animation's origins can be traced back to ancient times, with examples found in cave drawings and scrolls thatdepict sequences of actions. However, it was the advent of technology in the 20th century that truly revolutionizedthe art form. The early days of animation saw the emergence of pioneers like Walt Disney, who revolutionized theindustry with his groundbreaking works like "Snow White and the Seven Dwarfs" and "Fantasia." These films not only entertained but also served as a cultural bridge,connecting people across the globe through shared stories and experiences.The beauty of animation lies in its ability to transcend language and cultural barriers. It is a universal language that anyone can understand, regardless of their background or language proficiency. This is perhaps one of the reasons why animation has become such a popular medium for storytelling, especially in the digital age where content is consumed at an unprecedented rate.In the modern era, animation has evolved to embrace a wide range of styles and genres. From the whimsical and colorful worlds of Pixar to the dark and intricate tales of Studio Ghibli, animation has something for everyone. It has also become a powerful medium for social commentary and awareness, with films like "Zootopia" addressing issues of diversity and inclusivity.The technology behind animation has also evolved significantly. With the advent of computer-generated imagery (CGI), animators can create more realistic and detailed worlds than ever before. This has opened up a world of possibilities, allowing animators to bring theirwildest imaginations to life. CGI has also made animation more accessible, as it has democratized the process, allowing individuals and small teams to createprofessional-looking animations.The impact of animation is felt across all ages and demographics. It has the ability to captivate children with its fantastical tales and teach them valuable life lessons. At the same time, it can resonate with adults, offering a window to escape the realities of daily life and immerse themselves in a world of pure imagination.In conclusion, animation is much more than just moving images. It is a powerful medium that bridges cultures, ignites imaginations, and tells stories that resonate with us all. As technology continues to evolve, so will the art of animation, opening up new horizons and possibilities for storytellers and viewers alike.**动画的魔力:连接文化与想象**在视觉艺术的领域里,动画以其独特而引人入胜的表现形式脱颖而出。
关于动画的毕业设计论文英文文献翻译
关于动画的毕业设计论文英文文献翻译Title: English Literature Review on the Topic of Animation for Graduation ThesisIntroductionHistorical DevelopmentThe history of animation can be traced back to the late 19th century when pioneers like Émile Reynaud and Thomas Edison experimented with motion pictures. The advent of the animation industry in the early 20th century, with the introduction of the first animated film "Fantasmagorie" by Émile Cohl, marked a significant milestone. Since then, animation has emerged as a powerful medium of artistic expression, characterized by the iconic works of Walt Disney and the creation of iconic characters such as Mickey Mouse and Snow White.Animation Techniques and StylesImpact on SocietyArtistic ValueAnimation is not only a form of entertainment but also a prominent art form. The ability to create entire worlds, characters, and narratives through animation allows for immense creative possibilities. Artists and animators can experiment with different visual styles, color schemes, and storytellingtechniques to convey emotions and ideas. Animation also provides a platform for expressing abstract concepts and challenging traditional narratives, pushing the boundaries of artistic expression.Conclusion。
关于3D动画的英文文献
An Interactive 3D Graphics Modeler Based on Simulated Human Immune SystemHiroaki Nishino1, Takuya Sueyoshi2, Tsuneo Kagawa3, Kouichi Utsumiya4 1, 3, 4Department of Computer Science and Intelligent Systems, Oita University, Oita, 870-1192 JapanEmail: {1hn, 3 t_kagawa, 4utsumiya}@csis.oita-u.ac.jp2Fujitsu Kyushu System Engineering Ltd., Fukuoka, 814-8589 JapanEmail: sueyoshi.takuya@Abstract—We propose an intuitive computer graphicsauthoring method based on interactive evolutionarycomputation (IEC). Our previous systems employed geneticalgorithm (GA) and mainly focused on rapid exploration ofa single optimum 3D graphics model. The proposed methodadopts a different computation strategy called immunealgorithm (IA) to ease the creation of varied 3D models evenif a user doesn’t have any specific idea of final 3D products.Because artistic work like graphics design needs a process todiversify the user’s imagery, a tool that allows the user toselect his/her preferred ones from a broad range of possibledesign solutions is particularly desired. IA enables the userto effectively explore a wealth of solutions in a huge 3Dparametric space by using its essential mechanisms such asantibody formation and self-regulating function. Weconducted an experiment to verify the effectiveness of theproposed method. The results show that the proposedmethod helps the user to easily generating wide variety of3D graphics models.Index Terms—3D computer graphics, human immunesystem, interactive evolutionary computation, geometricmodeling, genetic algorithmI.I NTRODUCTIONRapid advances in 3 dimensional computer graphics (3DCG) technology allow the public to easily create their own graphics contents by using off-the-shelf 3DCG authoring tools. However, there are some hurdles to clear before mastering the 3DCG authoring techniques such as learning 3DCG theories, becoming familiar with a specific authoring software tool, and building an aesthetic sense to create attractive 3D contents.We have been working on the development of some 3DCG authoring techniques allowing a user to intuitively acquire 3D contents production power without paying attention to any details on the theories and authoring skills [1]. We have been applied a technical framework called interactive evolutionary computation (IEC) to achieve the goal [2]. Figure 1shows an IEC-based 3DCG authoring procedure. The user simply looks at multiple graphics images produced and shown by the system, and rates each image based on his/her subjective preference. He/she gives his/her preferred images higher scores and vice versa. Then, the system creates a new set of images by evolving the rated images using a simple genetic algorithm (GA). This human-in-the-loop exploration framework consisting of the user’s rating and system’s evolution is iterated until the user finds a good result.The simple GA effectively explores a huge search space with multiple search points and quickly finds a global optimum solution (a highest peak) in the search space [3]. Such property of the simple GA enables the user to find a unique 3DCG output(a global optimum solution).It sometimes, however, prevents the user from exploring wide varieties of solutions because it always catches similar ones around the global optimum solution. The exploration of diversified solutions is a very important task in the initial design process. Therefore, a mechanism to discover not only the best solution but also other good ones is a crucial function. These quasi-optimum solutions are still good candidates for the final 3D contents to create.In this paper, we propose to apply immune algorithm Figure 1. Intuitive 3DCG authoring based on human-in-the-loop IEC framework.: very good : good : not good like crossover and mutation.(IA) to efficiently acquire diversified 3DCG solutions. There are improved GA-based search methods to find multiple good solutions by maintaining the diverseness in their searching procedures [4]. IA provides, however, a more efficient way to discover variety of solutions with smaller population size than the GA-based methods [5]. The IEC system imposes a burden on the user because it enforces him/her to rate all individuals (candidate graphics images in our system) in every iterations of the “rating and evolution” loop described above. Therefore, the IA’s efficient searching ability with the small number of individuals is an important feature to implement a comfortable operational environment by alleviating human fatigue. Whereas IA has such an advantage, it has a drawback. The original IA has many threshold parameters to control the searching function and these parameters need to be set before execution. However, it is difficult to appropriately preset the overall parameters to get the right solutions. We modified the original algorithm to fit in with the IEC framework and resolved the tuning problem by allowing the user to interactively control the algorithm at runtime. We also conducted an experiment to verify the effectiveness of the proposed IA-based 3D authoring. The results show that the proposed method helps the user to easily generating wide variety of 3D graphics models.II.R ELATED W ORKThere are many precedent trials to apply biologically-inspired methods for creating graphics objects. Dawkins has demonstrated the power of computer-simulated evolution to create the “boimorphs,” the 2D line drawings of complex structures found in the living organism [6][7]. Following his pioneering work, two representative graphics applications were presented by Sims [8][9] and Todd et al. [10].They showed a methodology to breed aesthetic graphics images based on the evolutionary computation techniques. Although their approaches were quite successful to create innovative results, they focused on the production of highly abstract artistic images. Other 3DCG authoring applications include a system for drawing animals and plants [11], a 3D CG lighting design support system [12], a GA-based seamless texture generation system [13], and a 3D graphics modeling system [14]. See the reference [2] for further detail survey. These applications are mainly targeted at finding a single best solution in a very huge search space of 3D graphics objects.They are beneficial especially for novices because these applications don’t assume any technical know-how and aesthetic sense. On the contrary, our focus is on a very early stage in graphics design. The proposed method provides a uniform strategy to widen the user’s conception by presenting diverse solutions to the user. Therefore, our approach aims at providing a way to diversify the user’s idea before shaping a final solution, whereas all of the former systems described above focus on converging the user’s imagery toward the final solution. As a result, most precedent systems applied canonical GA or GP (genetic programming) without any mechanisms to preserve searching diversity.We applied the immune algorithm (IA) as an evolutionary computing engine for generating a broad range of 3D graphics objects. IA can be classified into a type of Artificial Immune Optimization (AIO) method [15] and has been proven to be a useful computational model for multi-objective optimization problems. IA is actually similar to GA because some IA operations can be implemented by GA operators such as crossover and mutation. Mori et al. proposed a GA-aided algorithm and exemplified its effectiveness by applying it to a multimodal function optimization problem [5][16]. Their method preserves to search diversified solutions by incorporating the regulatory and memory mechanisms of human immune system in the search procedure.IA can effectively search quasi-optimum solutions with smaller population size than simple GA. The IEC system requires the user to rate all candidate solutions (individuals) one by one and hence human fatigues caused by excessive operations need to be avoided [17]. Reducing the population size to a maximum extent is a crucial requirement to implement a successful IEC system.There are modified versions of the Mori’s algorithm proposed and applied to various problems such as TSP (traveling salesman problem) [18], multimodal function optimization [19], and quantum computing algorithm [20]. These existing systems require a predefined evaluation function and some threshold parameters to automatically control the IA optimization procedure. Appropriate definition of these function and variables is a crucial task for getting good solutions, but it is also a very tricky part to successfully control the IA optimization. Our proposed system improves the algorithm by adding some options to interactively control the IA operations at runtime.III.H UMAN I MMUNE S YSTEM O VERVIEWFigure 2 illustrates a human immune system overview. Two intrinsic mechanisms such as antibody formation and self-regulating function characterize the human immune system. The antibody formation is to produce and propagate antibodies that can effectively get rid of any unknown antigens. When the antibody-producing cell, a type of B-cell, detects an intruding antigen, it accelerates the antibody production by iterating gene recombination. The helper cell stimulates B-cell production for efficient antibody formation. Once the effective antibodies that can eliminate the detected antigen are produced, the memory cell memorizes a part of the produced antibodies. This memory mechanism, which is referred to as “acquired immunity,” quickly attacks the memorized antigen in the future invasion. This is a very important mechanism to protect human body from catching diseases such as measles and mumps. When the antibody formation excessively produces theantibodies to beat the invading antigens, the self-regulating function is activated to inhibit further increaseof the antibodies. The suppressor cell deteriorates the B-cell production to balance the immune system. This self-regulation mechanism enables the immune system to protect the human body from countless antigens with the finite antibody cells. Simulating this function enables the system to produce diversified solutions by using a finite number of searching entities (individuals).To apply these human immune mechanisms to the IEC-based graphics authoring system, we assume that the antigens correspond to optimum or quasi-optimum solutions (3D graphics objects made by the user) and the antibodies are equal to candidate solutions (candidate 3D graphics models evolved by the system) [21].IV. I NTERACTIVE G RAPHICS A UTHORING S YSTEM We designed and developed an IEC-based 3DCGauthoring system allowing the user to intuitively create 3D graphics objects [22]. Figure 3 illustrates the overall structure and modeling procedure of the system. As shown in the figure, the system consists of two software components, the IEC browser for exploring 3D graphics models and the I(individual)-editor for manually elaborating CG parameters of a specific model. The whole modeling steps numbered as 1 through 5 in figure 3 are described below.(1) Initial 3D model generationThe system firstly needs an initial 3D model to activate the IEC-guided authoring. The user has the following three options to prepare the initial model:- capture a real object’s shape by using a 3D scanner (a vase example in figure 3),- make it by using the freehand sketch modeler [23], or - retrieve and download it on the Internet. (2) Gene codingThe initial model needs to be coded as a gene. Figure 4 shows the structure of a chromosome that represents a 3D model created and evolved in the system. A chromosome holds 132 graphics parameters in total. Each graphics parameter is encoded as an 8 bits long gene (an integer ranging from 0 to 255) according to the following equation:.255minmax min ×−−=G G G G g i i ii i(1≦i ≦132) (1)where G i and g i are the i -th graphics parameter and its corresponding gene, respectively. The G i max and G i min are the maximum and minimum values of the parameter G i . The total length of a chromosome is 132 bytes.Manually elaborate a 3D modelby using I-editorPerform IA-based 3DCG authoring by using IEC browser clickFigure 2. Human immune system overview.Figure 3. Overall structure and modeling procedure of IEC-guided 3DCG authoring system.helper cellsuppressor cell B-cellmemoryantibody-The chromosome mainly divided into two sections, FFD (free form deformation) and RND (rendering) sections as shown in figure 4. The FFD section governs the 3D model’s geometrical shape. FFD is a modeling method originally proposed by Sederberg et al. [24]. FFD provides a common way to deform a 3D polygonal model. As shown in the upper left part in figure 4, it wraps the target 3D model with a simplified control mesh. When the mesh shape is changed by moving its nodes’ positions, the wrapped 3D object is deformed according to the modified mesh shape. The object can be deformed globally (global FFD) or locally (local FFD) as shown in figure 4. The system supports a control mesh consisting of 27 nodes (3x3x3 mesh) to evolve the model shape. All 27 nodes’ positions are encoded as genes (a group of genes labeled as “control mesh” in figure 4) to deform the mesh via the IA operations. The system supports additional deformation functions such as tapering and twisting operations as shown in figure 4 to provide a clay modeling effect [25].The RND section dictates the physical appearance of the 3D model as shown in the upper right part in figure 4. This section encodes information such as light source, object’s surface material, and color. As shown in the figure, the system supports four types of light sources (direction, spot, ambient, and point lights) with a set of parameters to prescribe various rendering effects such as reflection of light, shading, specular and diffusion surfaces, and object’s and background colors. (3) Browser activation and initial model readingThe user invokes the IEC browser and reads the initial model. The user performs the 3D graphics authoring task by using a set of GUI tools supported by the IEC browser as shown in figure 5. There are several GUI buttons arranged at the bottom of the screen to control the authoring task. When the user pushes the “read” button, the browser inquires a file name to read. Next, he/she specifies the file name of the initial model and executes the reading. Then, all sixteen sub-windows in the IEC browser display an identical image of the read initial model. The IEC browser can read and write 3D data files in .obj format, a commonly used 3D file format supported by Java3D library.(4) IA-based 3DCG authoringThis is a main stage for creating various 3D models by using the proposed IA-based 3DCG authoring method. The user can simultaneously browse all candidate model images in a screen and rate each model with his/her subjective preference on a scale of 1 to 5 (the worst to the best scores correspond to 1 to 5). He/she specifies each model’s score as an affinity value (as described in section V) by using the rating button placed at the bottom of each sub-window as shown in figure 5. Then, the scored 3D models are evolved by using the IA algorithm expounded in section V. The system iterates this “rating and evolution” processes until he/she gets the enough variety of 3D models.As the evolution progresses, a part in the chromosome such as the object’s shape or rendering effects might be well converged and they may need to be protected from further modifications. Consequently, the IEC browser supports a function to lock and unlock each gene. It can preserve a well-evolved part of the 3D model by excluding the locked parts in chromosome from the IA operations. The user controls the lock/unlock function by using the GUI menus arranged on the right side of the IEC browser as shown in figure 5. There are two separate menus for locking/unlocking the modeling and rendering parameters, and the setup menu to configure the system parameters such as the crossover and mutation rates anddefault shape global FFDlocal FFD taperingtwisting sourceRendering (RND) operations to representFree Form Deformation (FFD) with clay modeling options to Figure 4. Structure of a chromosome to represent a 3D model evolved in the system .the crossover scheme to utilize as described in section V. The user switches the menus by clicking tags on top of the menus.As shown in figure 3, the IEC browser consists of two software components, the IA engine to perform the IA operations and the graphics engine to manage the graphics rendering and user interactions through the GUI tools. (5) Manual elaboration of a 3D modelThe I-editor, as shown in figure 3, provides a fine-tuning option to manually elaborate the graphics parameters of a candidate 3D model. The user clicks a specific model’s sub-window in the IEC browser to select a model for manual editing. Then, he/she pushes the “edit” button as shown in figure 5 to activate the I-editor. The user can modify any parameters controlling the selected model’s geometrical shape, deformation pattern, surface materials, lighting effects, and colors. The model image in the I-editor is immediately updated when the user modifies any parameter values. Therefore, he/she easily notices the effects of the changes and perceives his/her preferred parameter settings. After the manual edit, the model can be brought back to the IEC browser for further evolutions.Both of the IEC browser and the I-editor are written in Java with Java 3D library. They are downloadable on the Internet and usable under multiple operating systems.V.I NTERACTIVELY C ONTROLLED I MMUNE A LGORITHMFOR 3DCG A UTHORINGAs described in section II, the traditional IA-based optimization systems require a predefined evaluation function to automatically calculate the affinity (fitness) values of antibodies. They also need some preset threshold parameters to timely accelerate or suppress the antibody formation mechanism. Appropriate definition of the function and threshold values is a crucial problem to successfully acquire multiple good solutions. The tuning of these values, however, is a tricky task and makes IA a difficult optimization framework to use. We resolve the problem by changing the original IA to the interactively controllable algorithm. It can accelerate or suppress the antibody formation at runtime. The flowchart in figure 6 elaborates the proposed IA algorithm. The shaded steps such as processes (b), (c), and (h) in the flowchart encourage the user to interactively control the processes. The explanation of each process (a through h) in the flowchart follows:(a) Creation of an initial generationFirstly, IA creates an initial generation of antibodies by randomly calculating all parameter values encoded in the initial model’s chromosome as described in section IV. The user pushes the “initialize” button placed at the bottom of the IEC browser (as shown in figure 5) to initialize the model. The randomization of the initial model generates a set of 3D objects with various shapes and physical appearances. If there are 3D models kept as memory cells in the SMC-DB (suppressor and memory cell database), the system selects some cells to compose the initial generation. Because the SMC-DB keeps optimum solutions (good 3D models) discovered in the past trials in process (g), IA reuses such previously found solutions as good candidates to start a new trial.The modeling starts with an initial generation of 3D models generated by randomization and selected from the SMC-DB.Setup menufor configuringsystem parameterssuch as crossover andmutation ratesModeling menufor controllinglock/unlock overmodeling-relatedparametersRendering menufor controllinglock/unlock overrendering-relatedparametersmenus GUI buttonsrating buttonEvolution button to activateevolutionary processingbutton to activate I-editor for aspecific modelDefault button to recycle browserand return to the initial state:Undo button to undo onegeneration:Clamp button to prevent a specificmodel from being evolvedFigure 5. IEC browser interface with its GUI tools.(b) Judgment on convergenceThe user specifies whether he/she finds an optimum solution, a 3D model (an antibody) that coincides with his/her imagery, in the current generation. He/she picks the found solution when exists and proceed to process (g), otherwise continues to process (c) for executing further simulated evolutions.(c) Rating of antibodiesThe user rates sixteen 3D models (antibodies) in the current generation with his/her subjective preference on a scale of 1 to 5as described in section IV. Each antibody’s rate corresponds to an affinity representing its degree of similarity with the antigen (a target 3D model to create). The highly rated antibodies, therefore, are similar to the antigen and have high expectations to survive in the future generations. The degree of similarity between the antigen and the antibody v is defined as follows: ax v= Affinity v. (1 ≦Affinity v≦5) (2) where Affinity v is an integer value. The affinity is the rate assigned by the user. The value is 5 if the antibody v is the most similar with the antigen in the current generation, or 1 for the least similar one.(d) Execution of crossover and mutationThis process executes crossover and mutation operations used in the normal GA to produce new antibodies. The system selects a pair of antibodies as parents and performs a crossover operation on them to produce a new pair of antibodies (children). Because each antibody’s affinity given by the user in process (c) is used as an expectation for the selection, the highly rated antibodies have higher probability to be chosen as the parents. This process also induces a mutation of gene to preserve a diversity of antibodies.(e) Suppression of antibodiesAfter new antibodies (children) are produced by the crossover and mutation, this process suppresses all child antibodies that are similar to the previously found optimum solutions. The purpose of the suppression is to keep the evolving antibodies away from search fields near the already acquired solutions. This step prevents the system from redundantly producing the 3D models similar to the already found solutions in the previous search. Accordingly, it allows the user to efficiently explore other unknown solutions (3D models) in the search space. The previously found solutions are kept as the suppressor cells in the SMC-DB in process (g). The suppression mechanism calculates the degree of similarity (affinity) between each child antibody produced in process (d) and all the suppressor cells, and then suppresses all children whose affinities are higher than the threshold value. This threshold is the only predefined value in our algorithm. The affinity between the suppressor cell s and the antibody v is defined as follows:Pp=1Pay v,s1=( g v p g s p)2Σ(3)where P is a population size, g v and g s are genes of the antibody and the suppressor cell, respectively. The g v and g s are the same graphics parameters and they are normalized as real numbers ranging between 0 and 1. Accordingly, ay v,s becomes 1, a maximal value, when the chromosome of the antibody is identical to the suppressor cell’s.(f) Creation of a new generationThis process produces additional antibodies by randomly setting the parameters if there are suppressed ones in process (e). The processes from (d) to (f) simulate the antibody formation with guaranteeing the exploration of a new solution (antibody) from undiscovered search fields.(g) Memorization of an optimum solutionThis process memorizes the discovered optimum solution as a memory cell in the SMC-DB. The stored solution is reused as an effective antibody to form the initial generation in process (a). Because the SMC-DB can only store a limited number of memory cells, a replacement algorithm is activated when a cell pool in the SMC-DB fills. It calculates the affinity between the found solution (antibody) and all the memorized cells by using equation 3. Then, it replaces the most similar memory cell by the newly found solution.The discovered solution is also memorized as a suppressor cell in the SMC-DB. It is used to suppress the evolving antibodies that are similar to the found solution in process (e).Figure 6. Flowchart of interactive IA.(h) Judgment on completionThe user indicates to finish the IA-guided exploration if he/she gets enough variety of the 3DCG models.In the original IA, threshold parameters to automatically judge the conditions need to be set for processes (b), (e) and (h). Additionally, an evaluation function to calculate affinity values for all antibodies needs to be defined for process (c). Appropriate setting of these parameters and the evaluation function has heavy influences on the search results and makes the original IA a difficult optimization method to customize. In our proposed algorithm, these judgments and calculations except for process (e) can be treated interactively at runtime. The user can intuitively make decisions in these processes by looking at visualized 3D models in the IEC browser and selecting his/her preferred ones.VI. E VALUATION E XPERIMENT A. Task DescriptionWe conducted an experiment to verify the effectiveness of the proposed IA-based 3DCG authoring method. To examine how it can intuitively support the generation of various 3D models, we assigned a creative design task motif. We prepared a “tokonoma” image, an alcove in a traditional Japanese room where art or flowers are displayed, as shown in figure 7(a). Then, we asked subjects to create various 3D vase models that fit neatly into the image as shown in figure 7(b). We employed twenty six subjects and let them to create as many vase models as possible within fifteen minutes. To evaluate the proposed method from the perspective of its ability for producing diversified solutions, we compare it with the traditional GA-based modeling. The GA modeler simply implements a basic algorithm to find an optimum solution and has no function to preserve the diversity of solutions during the search. We request the subjects to create asmany different models in shapes and colors as they canby using both modelers.Figure 8 is a screen snapshot showing the operational environment of the experiment. The user interface of both modelers (IA and GA modelers) is identical as shown in the figure to provide a consistent 3D modeling environment. In addition to the IEC browser and I-editor to perform the task, the subjects also use a photo viewer to draw the “tokonoma” motif image with a superimposed 3D vase model being evolved as shown in figure 8. The subjects can easily find good models in the current generation to suit with the motif image by using the photo viewer.B. Experimental Procedure and ConditionIn the beginning of the experiment, we briefly explained the subjects about how to use the system andgave them a few minutes to try and become familiar withthe tools. Then, we divide the subjects into two groups,the group A and B, as shown in table I. The subjects inthe group A firstly perform the modeling task by using the IA modeler and then continue the task by using the GA modeler. The subjects in the group B are enforced to perform the modeling tasks in reverse order to minimize the order effect between the IA and GA methods. After the subjects completed both tasks, we asked them to compare and rate both methods in five ranks according to the evaluation criteria as shown in figure 9 from the following two viewpoints:(1) Diversity of the models to indicate which method is better to create a variety set of 3D models, and(2) Satisfaction level to specify which method is better to get a satisfactory result in visual quality. All modeling tasks are performed under the following conditions: - the population size (number of evolved 3D models ineach generation) is 16, - the crossover rate is 90%, (a) (b)Motif images of “Tokonoma,” an alcove in a traditional Japanese room where art or flowers are displayed, used in the experiment. (a) is an original image, and (b) is an image with superimposed 3D vase model created in the experiment.Figure 7. Motif images of experiment.Figure 8. Operational environment for experiment.to superimpose a specific 3D model on themotif imagefor IA-and GA-guided 3D authoring。
动画介绍英语作文
动画介绍英语作文English:Animation is a captivating art form that has captivated audiences worldwide for decades. It is a medium that allows artists and storytellers to bring their imaginations to life, creating visually stunning and emotionally engaging narratives. Whether it's a classic Disney film, a groundbreaking Pixar production, or an innovative anime series, animation has the power to transport us to fantastical worlds, explore complex themes, and evoke a range of emotions.One of the most remarkable aspects of animation is its ability to transcend the limitations of live-action filmmaking. Animators can create worlds and characters that defy the laws of physics, explore the depths of the human experience, and push the boundaries of visual storytelling. From the hand-drawn masterpieces of the past to thecutting-edge computer-generated imagery of the present, animation has evolved and diversified, offering a wide range of styles and genres to suit every taste.The art of animation is not just about creatingbeautiful visuals; it's also about crafting compelling narratives that resonate with audiences. Animators must possess a deep understanding of character development, plot structure, and emotional resonance to create stories that captivate and inspire. Whether they are tackling complex social issues or exploring the realms of fantasy and imagination, animated films and series have the power to touch our hearts, challenge our minds, and leave a lasting impression.Beyond its artistic merits, animation also plays a crucial role in education and entertainment. Animated content can be an effective tool for teaching children about important concepts, from science and history tosocial and emotional skills. At the same time, animation provides a platform for adults to explore mature themes, delve into philosophical questions, and find respite from the stresses of everyday life.As technology continues to advance, the possibilitiesfor animation continue to grow. From virtual reality experiences to interactive storytelling, the future ofanimation is poised to be even more immersive and captivating. Animators and studios around the world are pushing the boundaries of what is possible, creating newand innovative ways to engage audiences and tell storiesthat resonate on a deeper level.In conclusion, animation is a truly remarkable art form that has the power to inspire, educate, and entertainpeople of all ages. Whether you're a lifelong fan or a newcomer to the medium, the world of animation is one thatis constantly evolving and expanding, offering endless opportunities for discovery and wonder.中文:动画是一种引人入胜的艺术形式,数十年来一直吸引着全世界的观众。
动画制作外文翻译文献
动画制作外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文:动作脚本ActionScript是 Macromedia(现已被Adobe收购)为其Flash产品开发的,最初是一种简单的脚本语言,现在最新版本3.0,是一种完全的面向对象的编程语言,功能强大,类库丰富,语法类似JavaScript,多用于Flash互动性、娱乐性、实用性开发,网页制作和RIA应用程序开发。
ActionScript 是一种基于ECMAScript的脚本语言,可用于编写Adobe Flash动画和应用程序。
由于ActionScript和JavaScript都是基于ECMAScript语法的,理论上它们互相可以很流畅地从一种语言翻译到另一种。
不过JavaScript的文档对象模型(DOM)是以浏览器窗口,文档和表单为主的,ActionScript的文档对象模型(DOM)则以SWF格式动画为主,可包括动画,音频,文字和事件处理。
历史在Mac OS X 10.2操作系统上的Macromedia Flash MX专业版里,这些代码可以创建一个与MAC OS X启动过程中看见的类似的动画。
ActionScript第一次以它目前的语法出现是Flash 5版本,这也是第一个完全可对Flash编程的版本。
这个版本被命名为ActionScript1.0。
Flash 6通过增加大量的内置函数和对动画元素更好的编程控制更进一步增强了编程环境的功能。
Flash 7(MX 2004)引进了ActionScript2.0,它增加了强类型(strong typing)和面向对象特征,如显式类声明,继承,接口和严格数据类型。
ActionScript1.0和2.0使用相同的编译形式编译成Flash SWF文件(即Shockwave Flash files,或 'Small Web Format').时间表Flash Player 2:第一个支持脚本的版本,包括控制时间轴的gotoAndPlay, gotoAndStop, nextFrame和nextScene等动作。
动画专业毕业设计外文翻译
动画专业毕业设计外文翻译附录一英文原文Animated conversation Developing decent web animations has been more like a climb up the Eiger than a walk in the park. However, the latest breed of software available has been built to capture the designer's imagination without killing off the muse. Alistair Dabbs goes through the motions.Let's face it, the Web is a disappointment. It's that tiny little screen, the narrow bandwidth and the uncertainty that vast numbers of your audience might not be able to see what you want them to. Everything to do with Web design is about downsizing. And if it wasn't bad enough having to make all your static graphics 72dpi, any attempt at animation involves considerable cramming effort. What this means, at least until large screens and fast Internet connections become the norm, is you can't yet do much with video. You can stream QuickTime, but without a leased line connection it's terrible. Thankfully, you still have a range of choices when it comes to graphics animation. So, let's take a look at the main techniques, and their drawbacks, for getting your site animated today.Back in 1994, the backroom boys in commercial Web development came up with an extremely basic form of animation by sending consecutive GIF images live to the browser. Advertisers had been using this method to change ad banners every 30 seconds or so without waiting for the user to refresh the page. By sending a sequence of frames on a constant basis, an elementary animation effect was possible. The drawback, of course, was that graphic data was constantly being downloaded over the line after the page itself had loaded. On a 14.4K modem, this meant the browser was always flickering and the hard disk churning, and frames were usually interspersed with blanks as each subsequent frame loaded. Soon after, the animated GIF was born, effectively packing the GIF frame sequence into one file which downloaded once. The animated GIF has been a staple of ad banners and simple attention-grabbing effects ever since. Even sites which promote and showcase Flash and Shockwave interfaces still use animated GIFs because designers know that it's the one animation technology supported in every Web browser that lets you see graphics at all. The limitations of animated GIFs are well-known, but let's summarise them anyway. GIFs are bitmap images, so come at a fixed size regardless of browser window size. They can reach第1页quite exciting sizes if they include more than 10 frames or so, because compression is based on the number of different colours in each image. They also tend to appear in a jerky fashion during the download, leaving the user staring at a seemingly inexplicable sequence running at one frame every five seconds the first time round. More recently, designers have been able to produce basic path motion for static images using DHTML. Instead of running an animation in one fixed place, DHTML techniques let you take a single image and move it around over the top of your page as an independent, floating object. The nice thing about this approach is that the animation, for what it is, starts almost immediately and the movement is perfectly smooth, not being frame-based. The graphic can also have a transparent background just like any GIF. The big drawback is that it doesn't do anything else terribly interesting. As a result it can come across as just plain annoying or tacky. And it's not really animation.While the World Wide Web Consortium squandered most of the 1990s considering some proper animation technologies, Macromedia just went for it. The result was Flash, a system of playing back self-contained movies containing vector-based graphics and text within a Web page or independently running in a Web browser. The advantages of the Flash approach are considerable, and getting more compelling as time goes on. In the first instance, the vector nature of Flash movies allows you to include quite complex graphics and sequences in the confidence that they'll compress down to almost unfeasibly small file sizes. In practically every test, from simple rollover type and button effects to complete sequences, you'll find that Flash files are smaller than animated GIFs and load up faster than Java actions. Vectors also mean that the movies can resize themselves automatically to fit the browser screen, anti-aliasing on the fly. Better still, Flash movies can incorporate events and react to user input, making it terrific for developing custom Web page interfaces which HTML couldn't hope to imitate. Not least, Flash can include embedded audio. And perhaps best of all from an experienced designer's point of view, the movies can be set to start running as soon as the download commences without waiting for it to complete. There are two principal drawbacks to the Flash format. First, it requires your audience to have a plug-in Flash player installed. However, to Macromedia's credit, the Flash plug-in is a relatively small and speedy download at just a couple of hundred kilobytes. You should also be aware that Microsoft 3 intends dumping most of the plug-ins it currently ships with InternetExplorer in future - but Flash is the very notable exception. The second drawback might not concern you, but it's that Flash isn't actually a standard in the same way as HTML, GIF, JPG, PNG or something like Java. Flash is a 100 per cent proprietary format owned by Macromedia and licensed out to other graphics software developers on a commercial basis. In practice, of course, it doesn't matter that Flash isn't an officially recognised standard because well over 90 per cent of Internet users already have the plug-in installed: we're talking about hundreds of millions of people, ready to go with your animation content. Fun and sexy though Flash is, it's not a complete multimedia environment. Originally, Flash arose from a project at Macromedia to make Shockwave animations, already developed for Web playback, even more compact and accessible by people with slow modems. Shockwave is still very much alive and well, and in many cases leaves Flash way behind in terms of visual quality, interactivity and multifunctionality. There's even a lively market for cartoons and games using Shockwave and its offline player ShockMachine. Unlike Flash, however, the Shockwave plug-in is a long download and requires a somewhat fiddly installation process which includes exiting your Web browser at one point. The big limitation of both Flash and Shockwave from a graphic artist's point of view is that the really clever interactive features depend on scripting. Or to choose another word, programming. If you're happy about scripting, indeed if you have some JavaScript experience, you'll find Flash is reasonably approachable; if not, you'll be limited to more conventional animation tasks.Inevitably, everyone is always on the hunt for a Web animation system that doesn't expect the audience to locate and install third-party plug-ins. These exist, but they do so with solutions that are even more proprietary than Flash, and usually protected by their creators with ridiculously extreme caution. One example of an alternative to Flash that doesn't require a plug-in is CyberSpot. To all intents and purposes, a CyberSpot sequence looks a bit like a basic Flash movie with audio but it loads up in an instant without any preliminaries. The problem with it is that CyberSpot is marketed as a bespoke service by the company that developed it. You commission them to create a 30-second movie on your behalf, rather than create your own using standard software packages. As you can imagine, this is of limited use except as standalone ads. The hot technology everyone is talking about at the moment that could rival Flash at some point in the future is Scalable Vector Graphics, or SVG. It beganlife as a concept proposed by Adobe to the World Wide Web Consortium and, from the start, Adobe proposed SVG as an open standard in the hope that this will encourage its adoption. The idea behind SVG is to provide the Web with a vector graphics standard in the same way that GIF, JPG and PNG are bitmap standards. But more than this, it supports animation and user interactivity. And further, it is navigable with pan and zoom functions. This means you could use SVG in a number of different ways to suit the desired result, whether that be a detailed diagram you can zoom into without losing definition (a streetmap is a classic example), Web page interface elements or an interactive animated movie. SVG supports visual filter effects applied in real time rather than just being frames, and can include audio. One of the reasons so many people are getting interested in SVG is that it is based on XML, which is generally regarded as the next step in Web functionality. XML support in a dynamic vector graphic or animation can link it intelligently to all kinds of data, which in turn could radically alter the way Web content is delivered. As ever, there are drawbacks. One is that SVG, though accepted as an official standard, still requires a plug-in for your browser to display. Although Adobe hopes that one day, SVG support will be built into all browsers, for the immediate future it involves a download of well over 2Mb. Another limitation is that precious few graphics packages can yet export to SVG other than Adobe Illustrator 9 and Photoshop 6. And this leads to the biggest drawback of all: not many people are using SVG yet and most Web users have never heard of it. All this certainly lends credence to Macromedia's claim that Flash is the real Web animation standard, officially recognised or not. With a widening range of design products now capable of exporting to Flash, including Illustrator and FreeHand, not to mention LiveMotion, Flash is where the action's at for the next couple of years at least, if not indefinitely.Information source:" /flash-animation.html"附录二翻译译文网络动画正规对话的发展更像是攀爬艾格尔峰,而不是在公园里散步。
关于动画制作的英语作文
关于动画制作的英语作文Title: Exploring the Art of Animation Production。
Animation production is a fascinating blend of creativity, technology, and storytelling. It's a mediumthat has evolved significantly over the years, from traditional hand-drawn animation to computer-generated imagery (CGI) and beyond. In this essay, we'll delve into the various aspects of animation production, exploring its techniques, challenges, and significance in today's entertainment industry.To begin with, let's discuss the different types of animation techniques commonly used in production. Traditional animation, also known as cel animation, involves hand-drawing each frame to create the illusion of movement. This method, while time-consuming, has a unique charm and has been the foundation of animation for decades. On the other hand, CGI animation utilizes computer software to generate lifelike images and animations. This techniquehas revolutionized the industry, allowing for more complex visuals and seamless integration of special effects.Regardless of the technique used, the animation production process typically follows a similar workflow. It starts with pre-production, where the concept, storyboards, and character designs are developed. This phase is crucial as it lays the foundation for the entire project. Next comes production, where the actual animation is created based on the storyboard. This involves drawing or modeling the characters and backgrounds, as well as animating their movements. Finally, in post-production, sound effects, music, and voiceovers are added to bring the animation to life.One of the biggest challenges in animation productionis achieving realism and fluidity of movement. Whether it's a character walking, running, or expressing emotions, animators must pay close attention to details such as timing, spacing, and weight to make the animation believable. This requires a combination of artistic skill and technical knowledge, as well as a keen understanding ofanatomy and physics.Another challenge is staying true to the vision of the director while also meeting the demands of the client or studio. Animation production is often a collaborativeeffort involving artists, animators, writers, and directors, each with their own creative input. Balancing artistic integrity with commercial interests can be tricky, but it's essential for the success of the project.Despite the challenges, animation production is a rewarding endeavor with significant cultural and economic impact. Animated films and series have the power to entertain, educate, and inspire audiences of all ages. They transcend language and cultural barriers, making them a universal form of storytelling. Moreover, the animation industry generates billions of dollars in revenue each year, creating jobs and driving innovation in technology.In conclusion, animation production is a multifaceted process that combines artistry, technology, andstorytelling. From traditional hand-drawn animation tocutting-edge CGI, animators continue to push the boundaries of what's possible, creating immersive worlds and memorable characters. Despite its challenges, animation remains a vibrant and influential medium with a bright future ahead.。
有关动画的英语作文
有关动画的英语作文Animations are such a blast! They bring characters to life in a way that's both entertaining and educational. I love how they can transport me to a whole new world, filled with color and imagination.One thing I find fascinating about animations is the creativity behind them. The designers put so much thought into every detail, from the characters' unique looks to the intricate backgrounds. It's like a visual feast for the eyes!Another cool aspect is the storytelling. Animations often have great narratives that captivate audiences of all ages. The plots are engaging, and the characters' development is fascinating to watch. I've even cried tears of joy and sadness watching my favorite animated movies.Plus, animations are a great way to learn about different cultures and traditions. They often incorporateelements from various parts of the world, giving viewers a glimpse into other ways of life. It's like a window to the world, right in your living room!But don't forget about the humor in animations! They can be downright hilarious at times, with witty dialogue and hilarious situations. Laughing out loud while watching an animated movie is one of the best feelings ever.In conclusion, animations are awesome. They're fun, educational, and full of creativity. Whether you're a kid or an adult, there's something for everyone in the world of animation. So grab some popcorn, sit back, and enjoy the ride!。
动漫发展英语论文
Analysis on the development of Chinese animation industryAbstract:Chinese animation industry on the surface, it seems that the situation is excellent, but, as the animation industry development and mature symbol of the animation industry chain has not been formed, there is a wide range of influence of the original work is still very little. Cause of this situation: video player system of monopoly position remains unchanged; lack of original animation; industry operations, useless; blind development of derivative products market and so on. China's animation industry to solve these problems, China's animation industrychain need to be integrated.Key words:Chinese animation; development situation; reasonIntroduction:On April 20, 2004, the State Administration of radio, film and television to develop "on the development of China's film and television animation industry a number of opinions" issued, the local government positive action, have introduced preferential policies related to the development of the local district, the animation industry. A large number of the emergence of a large number of animation base, animation, animation festival,Animation Forum, Anime Fair, and so forth, the emergence of a large number of animation production panies, as well as the formation of a large number of animation wave. Animation as a new economic growth has also been all over the hopes, animation in a piece of "great leap forward" the excellent situation, the emergence of a fine, especially in the central television broadcast such as "journey to the west", "the adventures of little carp" Jingwei "the rainbow blue rabbit seven chivalrous biography"the Sanmao roams about Records "" time boy "the legend of Nezha" the kid "the magic teenager," pig man Martial Arts 2008 "and so on. But the animation is fine, but does not mean that the animation industry as a leading animation has been formed. Animation industry is its own rules of operation, it is by the cartoon, cartoon Planning -- Animation -- video playback of animation derivative products marketing it's five major industrial chain organic unifies in together, mutual cooperation, mutual cooperation, plement each other, a virtuous circle together to improve the organic link. It is not difficult to see that China's current animation industry chain is still missing broken chain". The animation level, the downturn in the market reaction pale make people confused, but also allow people to return to reason, sparked thinking.In August 2008, SARFT deputy editor in chief, director of the development research center of, radio and television blue book editor in chief Huang Yong introduced the research of China Radio, film and Television Development Report 2008 written work, released the main contents of the annual report wrote: in 2007, the country produced a total of 186 section 101 614 minutes of pleting the domestic television cartoon, respectively than in 2006 increased by 50% and 23.43%, making a total of pleted animation film 6. In February 2008, mentioned in the proposal of Central mittee of China Association for promoting democracy in the submitted to the meeting of the CPPCC National mittee of culture, the cultural industry of our country, especially in the animation industry, the management pattern, the prevalence of "bull management, unclear responsibilities and lack of coordination and unification". The proposal that the animation industry from the creation, broadcast, publishing to derivative products andso on each link, respectively by the State Administration of radio, film and television, press and publishing administration, the Ministry of culture, State Administration for Industry and merce, the Ministry of information industry, the Ministry of science and technology, the Ministry of education and other ministries cross management and responsibilities of the ministries and missions of the State Council is not clear. Other according to inplete statistics. Up to now, the construction of a total of more than 60 animation industry base, which base of national award is 42, respectively, by a number of ministries awarding. Seems to be booming, but the base investors turned real estate developers, because the development model is similar and led to the base of the base to rob businesses and resource idle phenomenon is not unmon. At present, animation industry related industry associations and many, but due to the government to take multiple management, registered in the pany and works must to find petent business department at a higher level, so all kinds of animation industry association also because of the conflicting interests of various government departments bee more plex and chaos, a variety of organization name, cover objects overlapping, the petent authorities varied, lack of overall planning and confused. The bigger drawback is that China's Industry Association in the role of the emergence of a considerable positioning deviation. Most of the animation industry association is difficult to maintain its "non - government", and even in the "two government" state, simply can not reflect the full service value for the enterprise, the direct result of the lack of credibility. Corporate identity can not be improved, industry associations will be rendered useless.Looking back from 2005 to 2008 this 3 years the development of China's animationindustry, we found that the number of animation works increased, the amount of animation production increased, the cartoons are less, the influence of the animation brand is less. The two little more than two shows into animation works to the modity is not enough. In recent years, through the television media popular cartoon made only blue cat, Nezha, rainbow cat, small carp for a few, the blue cat, rainbow cat and more derivative products and successfully and children's drinks realizing binding. But in addition to the two "the cat", brand promotion other images are few, the legend of Nezha "fall from the sky a pig", "Qin Shimingyue" "happy star cat," happy stuff "and other excellent animation works of derivative product development is obviously insufficient.n addition to books, other product image authorized only simply stay in the cartoon image of the paste on different products, and did not realize the cartoon animation name or by cartoon market driven the rise and prosperity of market of the products, promote sales market of animation, even if sales increase, but sales profits nor the reproduction of the real return to animation, animation and product distribution of win-win.Discussion and Implications:a) the monopoly position of the film and television broadcasting system is still not changedVideo player system, also is the television and cinema, they hold the public resources in our country, for the pany sent the animation works nitpicking, lower prices or even non payment, in exchange for advertising time, the originally should belong to the business of television advertising department imposed in the animation production panies, animation production pany in the filming of the animation at the same timeshould also be considered for the TV station to undertake advertising business. Theatrical film the situation is even more difficult to understand, film and animation playback and approved by the relevant departments, but pay cinema a large sum of money to ensure the broadcast film after loss or as pensation for loss of like animated film " The soldierzhangga". So that the animation production pany does not make the film does not lose, production on the deficit, broadcast more losses, unless you can get the strong support of corporate and bank funds. But banks and enterprises is to profit for the purpose of, the loss is not, then they only took a fancy to invest in "cartoon" the potential market prospect will invest, but the animation industry has broad unique eyes bankers and entrepreneurs and how much?? only to break the monopoly of television and cinema of unify the whole country, new alternative paths, animation panies may have a new way. Traditional film and television media in the 5 years ago, the influence is still quite large, but now it is greatly reduced. The emergence of new media such as digital TV, Internet, mobile TV, IPTV, and so on, provides a new way for the spread of the cartoon brand. Like bean frogs, Kaka, unlucky ghost Debao and image via the Internet and mobile phones gradually emerge, making spread by network have effects animation panies to develop more vivid animation products add enthusiasm, also makes the animation production pany in the difficult situation to see some hope. Also, the film and television broadcast system into the real market, and may be able to take the initiative with the animation production pany, in the animation industry chain to develop and improve, the starting point of China's animation industry will really start.(b) original deficiencySince the reform and opening up, because of our country's animation is in the beginning stage, and at this time the domestic labor price is relative to the foreign economy, animation production pany's main business is mainly on behalf of the processing. Undeniable, in the generation of machining process, animation pany training a large number of animation production personnel, it is particularly worth mentioning is the application of new puter technology, breaking the traditional Ching Ching, a celluloid film shooting, using direct currentBrain shooting, puter graphics, puter graphics, puter graphics, and so on, greatly accelerate the speed of the production of animation. In this environment, growing up gradually in the our country animation workers, they in thinking about the status quo of China's animation. More and more of China's animation industry lags far behind Japan, the United States and other anxiety, in exploring the road of developing China's animation of development and the future and destiny. At present, the overall level of China's animation creation team is not high is an indisputable fact, the image of the original work of the lack of freshness and impact, the story does not attract people and other issues, resulting in the spread of limited. In the process of the creation of the product, the product of the elements of indifference, but also directly led to the difficulty of product development. To CCTV and Shanghai animation film studio production broadcast domestic animation as an example, derivative products are only limited to books and audiovisual products, other types of products and it was hard to see.From the choice of subject matter, like "Sparkling Red Star" "xiaobingzhangga" the red theme works, at the beginning of the creation may simply does not take into accountthe derivative product development problems. And the creation of animation in China still remain in the traditional myths, legends and stories of adaptation, of the romance of classical literary works, or is Wulitou edy on, reflecting the animation scriptwriter on the topic, lack of innovation, there is a widespread "eating ancestors never end" phenomenon. In reality, the original theme of science fiction is less and less, the market sales of relatively popular ics into cartoon is less, only CCTV animation will be the end of the last century China Youth ic author Yao Feila created ic "dream" changed into the eponymous cartoon, but in the five years after it was pleted and aired, and for the year in hot pursuit of the readers, they already grew up, on the "dream" also have a new understanding, and now seen the cartoon audience and the original is not familiar with, the result is not reached and obsession of heat in the past, not attracted many viewers. Success in this regard only in 1998 by the Shanghai animation film studio animated "I mad song". At the time of writing this work, the author makes a thorough investigation and study of the animation market. At that time, Japan and South Korea's animation accounted for the absolute market share in China, and the middle school students and teenagers to new songs especially Hong Kong singer sought to frenzied obsession, from the heart of South Korea and Hong Kong Youth pies, hair is a kind of intimacy, so the authors of Shanghai animation film studio just grab the mentality of young people, to create a suitable was done in one vigorous effort to young students to watch cartoons "my song", has achieved great success in the market, the relative derivative products also came into being, the name of the drama, books, printed with "by the majority of young people wele to my song the image of the mad" cards, stationery,clothing, jewelry and so on. In contrast, now like this caused a sensation of the animated film almost invisible. The State Administration of radio, film and television, deputy chief editor of Jin Delong in the bulletin of the 2007 national animation industry development, a fierce speech caused no small shock: "a large number of domestic animation, the protagonist would be three people -- history is hard-working, studious, myth is in addition to violence Anliang, punishing evil and promoting good, education is dull preaching. Character pattern too serious, low level repetition and content of fabrications, advocating spoof, subversion classics, such as white dragon horse with a revolver, pig is a romantic guy, sand monk into the quicksand of laid-off workers, Qin Shi Huang in Faust, egged on by waging war, Li Bai turned the test fail punks... "Why now the domestic animation will be so and real life out of touch? Here is undeniable that a quick thought in the haunt. The authors did not in-depth understanding of the audience's heart, not the thorough investigation and study of realistic animation market, the creator of lost animation nature, that is face is many viewers of "ordinary" and "universal" of, not to concern the audience really need what kind of spiritual food, not to study the market really need what kind of animation, not to study the shoot animation in the end is to see what the. Adaptation of the existing story, the existing idiom, the existing myth, the existing legend, relatively easy to get the leadership of the affirmation and praise, and the reality of the work is easy to touch the reality and cause a lot of controversy. No matter what kind of works, the author believes that we should meet the needs of modern people's appreciation. That is to say, an era is an era of popular, an era is an era, an era is an era, an era is an era of public psychologyand adaptations to modern consciousness, like myth cartoon "Jingwei" adapted accord with such a request. It is the use of modern concepts and theories to interpret ancient times a Millennium legend of, whether it is language and norms of behavior, or the plot of the story of ups and downs, can make different levels of audience to understand and read, although it is modified series, but the author in the adaptation of the skills significantly increased many in society at that time is not likely to touch the thought and impossible to explain the reality of the situation, and in the technique of expression with modern science knowledge and understanding so that the majority of the audience to accept the unpleasant. This masterpiece in the central television channel, CCTV children's channel in 2007 the National Day Golden Week prime time broadcast and in the subsequent March continuously replayed the three times, won the good social identity. Therefore, in does not exclude the traditional culture and traditions of the story of the adaptation of the romance of the premise, the realistic theme original is animation revitalization of the primary point, especially the reality can't read science fiction original is the most attractive.(c)the operation mechanism of industrial uselessMany animation panies in the mind is all very clear, regardless of is the animation or, ics or, walk the road of industrialization, can only be like a schoolboy, do anything to start from the most basic work (because they themselves did not base). Here said the foundation, is refers to shooting cartoons must do things, such as market research, production cycle, film and television broadcast arrangements, books and audiovisual products display, other derivative products, market and how to operation and so on, butgeneral animation production pany or is operating panies always have such shortings. One: the animated confidence full, but in operation approval and broadcast grade can not reach the expected time, because many panies are ideal consideration is the film as long as through the approval of the State Administration of radio, film and television, television should give broadcast of course. Two: as long as my cartoon on TV broadcast, with the same name of the cartoon books and audio and video products in the market will certainly occupy a lot of sales share, the market will certainly be optimistic. Three: cartoon production and book production is not an industry, it is not a department approval, for granted to make the film and to operate the book, it will be nothing to do. Four: Operation Planning lack of pany personnel, said here is refers to the professional talent, and professional talent, regardless of the lack of any one pany, especially have experience in the operation of the talent is the lack of. In our country in recent years in training animation talent invested a lot of energy, various universities basically set up a professional animation, but are relatively biased, pay attention to training of professional and technical, and the concept of animation and animation industry, animation operation, various universities are rarely involved, said the popular point is only taught children to walk, not to teach the children why go, did not teach children to walk toward the direction, didn't tell will meet what to go on the road, and develop the students "unrealistic expectations. Five: quick. Each animation panies want to in the country strongly encourage the development of animation industry fishing for the pot of gold, the basic work of Du'an don't have the heart to do, blundering psychology how can make a fine cartoons! Six: many animation pany boss, are not doing animation wasborn, the animation only feeling in the film and television, they put other career earned money into the animation, in order to under the national policy of preferential fish pot of gold. Carries such a speculative psychology how to do the basic work it! This is the our country many animation planning status of the operation of the pany.(d) the blind development of derivatives market"Horizon" anime version of the "Chinese cultural newspaper" published in the November 21, 2008, published an article by Zhaoying with Mr. write article: "ic books into three lying in the warehouse", mentioned in the text: animation pany and publishing planning institutions, research results show that, during the same period, only 1 to 3 kinds of cartoon books can sell like hot cakes, regardless of the books at the end of 1 / 3 into permanent inventory. Equivalent to the animation books, animation derivative products also suffered the same end, even worse than this. Which is why it? Under normal circumstances, a cartoon making 52 episodes, 15 minutes per episode is regarded as long masterpiece, according to a daily broadcast set 2 calculation, also is not to broadcast to a month, on the replay and is only about two to three months. So, all of the derivative products only in the three to two months of sales is the best, after this period of sales decreased significantly. This means that any of the animation derivatives market has a considerable relevance to the broadcast of the animation, the timing of the television broadcast on the grasp to be fully considered. Must be coordinated, the number of production should be fully considered broadcast cycle. And China's cartoon broadcast not with subjective volition of the production pany for transfer (which is decided by the television broadcast system of monopoly), andderivative products also have to operate in advance, put market opportunities such as are not allowed to grasp, inventory backlog caused by the inevitable result. And some cartoon broadcast simply did not consider the market prospects of its derivatives, to be able to arrange the broadcast is very good. This will inevitably cause the derivative product market blindness, also caused the Chinese animation derivatives market is between Japan and the United States has long after the market feedback has good market effect of animation and its derivative products brisk sales phenomenon. Some radical people say: more than the base of the pany, the pany more than the animation, animation than books, more than the sale of the library. It was ugly, but also to some extent reflects the current embarrassing situation of China's animation industry.(e) there is no formation of the industrial chainAnimation industry chain has not formed, is the cause of the plight of the animation industry is the most fundamental reason.As we have mentioned earlier, the animation industry is formed by the five links organically linked to a tight bination of the formation of a virtuous circle of industry chain. With cross industry, cross sectoral, cross regional, cross sectoral characteristics, the need for all sectors of the region between the various sectors of the automatic convergence. Such as "blue cat" after 3 years in the CCTV repeated play, continue to strengthen the brand image, catch up with products at the same time, establish their own sales channels, and formed with Chinese characteristics "blue cat" animation industry chain. And the bination of rainbow cat and children's products is also a very good case. If the animation industry does not form the integration of industrial chain, itis absolutely impossible to survive. Realization of animation works to the transformation of goods, the key is to have a good work. What's good works? Is the first good cartoon image. A good cartoon image in color, modeling to be cute, easy to develop the development of derivative products. Have a match with the story of the good, the most important is the cartoon image must be endowed with a kind of spirit, it should is a group of voice or have some spirit characteristics, can bee the idol of this population. From the work to the product is also an important part of - product design. This is a lot of animation panies are easy to ignore the problem. I often hear such a phenomenon: some of the animation studio of the original staff, holding to design their own cartoon find a product production enterprise, expected to discuss the brand authorization, but did not consider this why enterprises choose his works do the brand image. In fact, the image of the original animation is just an artistic image, after the product design this program, you can attach to a variety of goods, and can produce a higher value added. It should be noted that the product design is based on the cartoon image has a high degree of recognition, and this image must be of vitality. China has organized a cartoon image of the copyright transaction, but with little success, the root causes of animation in our country there is little vitality of the cartoon image. In the animation industry has been spread in these words: "first-class production, second rate writer, the flow of the three marketing", "young authors lack of qualifications, experience, impetuous mood, superficial consciousness; a lack of work culture and connotation." It can be said that this sentence summed up the current situation of China's animation industry, but also the Chinese animation industry has a lot of confusion is the fundamental. In particular,focusing on the animation industry in the marketing problem, which is confused by many animation production units and planning the operation of the unitThe biggest problem. And the emergence of the problem, is the reality of our country produced the inevitable, bull management, multi phase elbow, catch condominium together is neat catch Gu pipe, policies from different departments, and at a loss. Conclusions:The entire animation industry can manifest the IT industry tension or cultural tension, in fact, more is it is a plex industry, and is not a single publishing industry, or single animation film industry. A product needs to integrate the image, rather than simply a link. Only a sound basis for the integration of marketing, the product will be able to release the largest market potential. Industry experts pointed out that we have a deviation of the understanding of the "animation". The original intention of the animation itself refers to the concept of a chain of industry, animation is not to refer to any one of the works, but represents a production from upstream to downstream marketing, peripheral product development of the industrial chain. Including producers, investors, publishing houses, television, etc., are just one part of the industry chain. The development of the Japanese animation industry is not because their creative staff than us, not because they are more advanced than us, but we lack the coordination of the whole industry chain. Because there are policy support, the Chinese animation market as a whole is optimistic about the future. The growth of any industry chain is the need of time, in the publicity system, incentive system and so on to adapt to the adjustmentof the growth of the animation industry will be betterImprove the Chinese animation industry chain. The existence of confusion is understandable, is inevitable, but we should not be intimidated by confusion, should not be stalled in the face of confusion, also continue to explore, continue to reform to continue to get perfect and improve.reference:1] Wang Jizhong. Operation and management of animation industry [M]. Beijing: munication University of China press, 2006。
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关于动画的毕业设计论文英文文献翻译附录附录A:外文资料翻译,原文部分The needs of the development of the Chinese animationWhy the development of cultural industries such as animation and game? Who isthe model for the development of animation and game industry in China? By following the survey report in Japan and the U.S. can be seen, animation, games and other cultural industries to each country to bring much benefit. Not ugly, social progress, to a certain period of time, the development of cultural industries is inevitable.Japan's animation industry can be described as a model, andtherefore the reference object and catch up with the target of China's animation industry. However, reporters found that a series of data on the Japanese animation industry is also confusing, especially back in five or six years ago, a number of widely cited data today seems very absurd.In many articles in 2006, reporters found that when the output value of the global animation industry between $ 200,000,000,000 to $500,000,000,000, the annual output value of Japan's animation industry to reach 230 trillion yen, Japan's second-pillar industry. " According to the 2010 release in Japan this year Japan's gross domestic product (GDP) at current prices of479.1791 trillion yen, while Japan's economicgrowth in recent years is not, you can estimate when the Japanese animation industry, the proportion of GDP is likely to exceed 50%!The most popular data is the Japanese animation industry share of GDP over 10%, this estimate, the Japanese anime industry output shouldbe about 48 trillion yen, which is $ 800,000,000,000. Which is basically the global animation industry and its industrial output value of derivatives and the United States topped the list where the shelter?According to the Japan Association of digital content, the White Paper 2004 "of the" digital animation industry as an important part of Japanese culture and creative industries, the output value in 2004 reached 12.8 trillion yen, accounting for Japan's gross domestic product 2.5%, Imaging Products 4.4 trillion yen, 1.7 trillion yen of the music products, books and periodicals published 5.6 trillion yen, 1.1 trillion yen of the game, more than agriculture, forestry, aquatic production value of 10 trillion yen. Andcommunications, information services, printing, advertising, appliances and other aggregate, it is up to the scale of 59 trillion yen. Only in this way the scope of the animation industry generalized, so as to achieve 10% of the proportion of domestic widespread.The integration of information seems relatively reasonable, "White Paper on digital content 2004 to data released, with some reference value, that is, Japan's animation industry's share of GDP should be between 2-5%. This way, the domestic animation industry is also a lot less pressure, but the runner-up position in the global animationindustry, is the total GDP has exceeded Japan's, China is still beyond the reach of being the so-called efforts will be necessary.About 20% of GDP of the U.S. cultural industries, especiallyfollowing a set of data appear most frequently in a variety of articles: 2006 U.S. GDP was $ 13.22 trillion, the cultural industries for the $2.64 trillion; cultural products occupy 40% of international market share. The United States controlled 75 percent of global production and production of television programs; the American animation industryoutput accounted for almost 30% of the global market to reach $ 31 billion; film production in the United States accounted for 6.7 percent of the world, but occupied 50% of the world screening time; In addition, the total size of the sports industry in the United States is about $300 000 000 000, accounting for 2.3% of GDP which only NBA a $ 10billion. However, we can see that this so-called American cultureindustry output is included, including sports and related industries,its scope is greater than the domestic cultural industry classification.Last article published on the web on the proportion of cultural industry in the United States, the earliest dating back to the Economic Daily News October 27, 2000 published in the Chinese culture, industry, academic Yearbook (1979-2002 Volume) cultural entrepreneurship space is there much ". Mentioned According to statistics, 18-25 percent of theU.S. cultural industries accounted for the total GDP, the 400 richest American companies, there are 72 cultural enterprises, the U.S. audioand video have been more than the aerospace industry ranks exports tradefirst. " Since then, the concept of "cultural industries" in the Research Office of CPC Central Committee from 2002 release of "2001-2002: China Cultural Industry Development Report", the official presentationof its background "article is the first official document reference the data. Now, the "Economic Daily News, the data from wherehas been untraceable, however, has passed 10 years, the data arestill widely various articles and government documents referenced, justa little floating, such as to 1/3 or dropped to 12%, the value ratio of72 cultural enterprises "in the past 10 years has never been subject to change. At least the data, has 11 years, there is a problem.The definition of cultural industries, the classification system, statistical methods and cultural enterprises related to the composition. Culture Research Center of the Chinese Academy of Social Sciences,deputy director Zhang Xiaoming, in an interview with reporters: "to a large extent, today's American culture industry is more frommultinational companies to operate these multinational corporations majority of United States as the main body. This seems to be one kind of paradox: American culture industry backed by multinational companies to benefit from all over the world, but the ultimate holding company liesin the hands of the merchants of other countries, although the countryis still the biggest beneficiary the United States during the GDP statistics still this part of the cross-cultural enterprises to join them. It is reported that, among the most powerful movie studios of Hollywood, Columbia TriStar is a subsidiary of Sony Corporation of Japan,parent company of Fox (Fox) is Australia's News Corporation. Especially in the popular music industry sector, in addition to the WEA, the more money earned in the U.S. market is the Sony of Japan, the Netherlands, Polygram, BMG in Germany, the United Kingdom Thorn EMIcompanies.China in recent years to increase the development of cultural industries such as animation and game, the seventh international animation festival, the statistics of the number of Chinese animation turnover super-Japan, to become the first in the world. We need more quality to support domestic animation to the world.[1] Marilyn Hugh著, Andrea Jane译外文资料翻译,中文部分中国动画发展的需求中国为什么要发展动漫游戏等文化产业,中国发展动漫游戏产业的榜样是谁,通过下面对日本与美国的调查报告可以看出来,动漫游戏等文化产业给每个国家带来了多大的利益。