动画专业毕业设计外文翻译
桂电动画专业毕业英语翻译
Animation Creation and Nation CultureAbstract:During the period of carrying on the animation creation,the literature style performance is a question which each creator all must consider;it also is a question that people may not consider completely.The animation performance style or the performance skill is always connected with the role modeling,the scene design and the plot story together.The story character,the story time and place always have certain age background or historical perspective,if one intend to reappear the entire animation story to the audience,the accurate selection and determination of performance style is extremely important.The motherland nation culture is broad and profound,many outstanding thoughts and stories provide us big creation space, simultaneously also grant animation creation with bright national characteristic. Nation culture is the soil and the foundation of native animation creation,integrate nation culture to drama writing and other animation design elements to form national animation image.Diligently enhance the international position of national animation image,technology development provides fresh new creation technology method and creation thought method for the creator,excavate outstanding nation culture and create national characteristic animation to be able to obtain fresh new feeling of view and hearing and happy spirit enjoy,and retrieve the development foundation of native animation.Key words:Animation Creation,Nation Culture,Nation Style,Science and Technology1IntroductionNowadays animation develop vigorously，at present it is still very difficult to see outstanding animated cartoon with Chinese characteristic in the market，has not formed the unique and outstanding animation style of our own country，bu t Japan，Korea，US all have their own bright characteristic and style when develop their own country animations，but many of our native animation solely imitate foreign style，not yet seek a animation path with our own development characteristic，this will inevitably affect the healthy animation profession development in our country，the problem worth US pondering and exploring is to seek all animation development path with nation culture style.2Animation Creation Script and Nation Culture2.1Nation CultureNational culture is sum up of civilized achievement which created in historical days and nowadays together，can represent its common characteristic，idea，system and utensil.Each country all has its own nation culture．China is a country with deep historical culture，it has its own nation spirit and nation characteristics，which other country do not have．The motherland nation culture is helpful to native animation creators，excavate unique creation theme of its own nation and express unique character quality and life style in our own country，present nation style to the world．Therefore the native nation culture has provided spatial stage and massive source material for Animation creation,Script is the first important step to demonstratenation culture characteristic animated cartoon creation，is the most critical part of idea connotation of animation creation.2．2ScriptWhen animation creator starts to create all animated cartoon．they all have a dim idea or concept，the first question of animation creation is to seek a good literature style story，certainly this story may be created by yourself own,or use the already existed drama to reorganize，simultaneously seek some related theme to express this preliminary plan，and continually mature，adjust and consummate this plan，eventually to finalize the plan.Many Chinese literature stories，myth stories．the novels，the prose and the philosophy all provide massive creation source material for the animation creation，and has reflected working people’s rich production life in native nation，these all may become the creation background，therefore the creation and choice of script must reflect this national life，close to common people，cannot be far away from this social main crowds，otherwise it becomes the wood without tree root，this requests script should have strong national characteristic．3Creation Style of Nation CultureWe can see economy globalization，technology globalization and integration have huge influence to nation culture，animation creation is a process which continuesfor a long time，during this long and difficult creation process need to early out creator's understanding of nation culture to real work，tightly catching the creation basis of nation culture connotation and art originality，because it refers to the life and soul of animation art，regardless of creating a long animation or a short one，development and extension of culture connotation is a key consideration factor，because development and extension of culture connotation is molding a national spirit. But be sure not to understand national spirit narrowly,need to penetrate into the connotation of spirit nature，the understanding of most people may possibly be applying mechanically the Chinese element，but actually it is not simply fetched，itis especially commendable under current China situation.This is to reveal and protect multiplicity of nation culture，is contribution to the human culture，the animation creation is similarly cultivating the culture，cultivating our own culture．3．1Animation ArtAnimation form that performances nation culture characteristic may be inspected and examined specifically in the actual process，analyze from below following points：(1)Animation modelingThe implement of animation form with nation style starts from the animation modeling design after finishing script.On one hand the animation modeling should consider the contour including the concrete shape characteristic，at the same time the consideration of color and skin texture are also the important aspects.All of these need understanding of Chinese culture.Among Chinese animations created by older generation，there are many works worth us studying and excavating，such as Lift Donkey created by team of director Wang borong，screen writer Jinzhong and modeling designer Liu zedai,the story is very interesting，it narrated a grandfather and a grandchild pull a donkey to go tobazaar happily，on the way they occasionally encountered a scholar．the scholar saw the child rode on the donkey back，leaving the old grandfather walking on foot，the scholar urged the child to give grandfather the donkey to ride so as to express the respect of younger generation to the elder，the child did not pay attention to the scholar，afterwards they ran into an old woman who insisted that the child should ride on donkey back，again they met a farmer who take special care of animals，he thought both the grandfather and grandson can not ride on the donkey back.The grandparent and grandchild were very awkward，finally made a great joke that two people lift the donkey to go to the bazaar．This story all uses the way of folk paper-cut to finish characters modeling，conforming to the story historical perspective very much，the character is brief，the color is bright，with skin shade expression way to present the plot naturally and humorously(Figure1)，what deserve us thinking is the seniors display national culture work with technology at that time，display nationalFigure1Lift Donkeyculture display national culture work with technology at that time，although the time changed，there is still nation culture characteristic difference between China and foreign countries，the animation modeling still has to re—fleet native nation characteristic，only national typical modeling could represent Chinese animation image Chinese animation should change from previous study and imitate foreign animation to diligently form our own native style and native culture，and excavate the potential of nation culture at modeling design and commercial operation．As to promote Chinese animation classic modeling style and animation image，the success model is US donald duck and micky mouse，which was a good one on be—half of American animation at that time，each national animation all has its own nation and culture characteristics,1ike US animation has good exquisite creation image and magnificent style；Japanese animation has obvious national characteristics，the technique is exquisite，the emotion is rich，has its own original style.In the modeling in the respect of role modeling Chinese animation design may get inspiration fromFigure2San yang kai tai(Author：Xue yu qin)some Chinese tradition design，motherland nation culture gives the creator infinite imagination and wisdom(Figure2)(2)ColorColor is playing an extremely important role in animation style performance, how to accurately master and understand specific,display color at nation quality color is very meaningful，it plays a very important role ill regarding to help express animation style with nation characteristic，the most typical color in our country is Chinese red，which already is the symbolic of country and nation．Among common nation color matching,some has extremely intense color contrast，the purity is very high，the personality characteristic is very strong，like Monkey Fishing created by director Shen Zuwei.The color of role monkey should be selected by high-purity like red and white，red and yellow，blue and white to form striking contrast，plus light grey as background color，thus to form intense color contrast which is commonly used color in traditional paper-cut field，and implement transformation to it(Figure3)The works Shepherd’s flute created by director the wet，which directly manifests the traditional culture China water ink is the manifestation form of this works(Figure4)，ink color is quiet and beautiful，the scenery is pure,the children wears white clothing and short pants in the picture,the pink skin has the breath of traditional countryside children,as if the old buffalo expressed by water ink returns to the childhood countryside life scene,the color utilization fully reveals the nation character.Figure3Monkey FishingShepherd’’s fluteFigure4ShepherdColor is knew and understood by Chinese masculine and feminine philosophy in folk,different to the West who knows the color through observation and scientific experiment Some colors have great symbolic significance，like in the drama makeup red represents gallantry，white represents deceitful，black represents rigid，also with opinions to propitious color and unpropitious color，such is nation difference and culture difference，but this is precisely oar sole civilized wealth，is the aspects which deserve us adducing.cesPerformances4Technology and Nation style PerformanIn the days of rapid technology development today pure traditional animation manifestation can not meet demand enough，science technology inevitably will play the role which is unable to be replaced by others and affects the manifestation of animation style gradually The animation creation can be demonstrated by the wav of using computer technology，such to form new manifestation，for instance in the animated canton“The Eight Immortals and Flea”．we may rise3-D animation system In finish the movement of leather-silhouette show and paper-cut．The effect is more natural，smooth,also can be joined to the special effect,this effect is what traditional animation performance could not achieve,which causes the role performance to be more dexterous,motion of facial features to be rich in variability, not be restricted by natural traditional technology．Style performance form will have very great degree of freedom,but we need to pay attention that global technology development and popularization will impact the regional characteristic of animation nation culture，especially for the developing countries.Reference[1]Luan weili Animation Modeling and the folk art[M]．Communication University of China Press,2007[2]Yu yuntao.Culture·The Concept of Cultural Resolution[J].Academic Exploration，2001(2)．[3]Yan ping．zhang bo.Modem Animation of Art Design and Analysis[M]．Shanxi People’s Fine Arts Publishing House，2004.[4]Zhang huilin．20th Century Animation Art History of China[M].Shanxi People’s Fine Arts Publishing House，2002．Application Scope and Study of Animation Virtualization Abstract:Animation is an interdisciplinary study．It can be extensively adopted by a number of other branches of learning．With prominent feature of virtualization,animation virtualization technology is beginning to serve a wide range of industries and aspects of life,where its optimization and interaction characters are best demonstrated．This paper studies the application scope of animation virtualization, manifests the optimization and interaction of animation virtualization in real world, and explores and develops the animation virtualization technology for it to play a more important role in today’s fast-changing world.Keywords:optimization；real world；function virtualization；human performance；interaction.I.INTRODUCTIONWith the fast development of science and technology,animation is no longer limited to bringing fun and joy to children,but beginning to serve a wide range of industries and aspects Of lif e with its prominent features of virtualization.Animation is an interdisciplinary subject．For instance．production of animation TV／films involves a considerable amount of TV/film knowledge,requiring both extraordinary skills in arts and mastering of cameras．Stop-motion animation has even higher requirements on the professionals such as modeling abilities,hand—mode craftwork and camera shooting skills．It is no exaggeration to say that animation is an interdisciplinary subject that combines TV，film，drawing and computer science．AS a disciplinary subject it is widely applied by other branches of learning．For instance，TV commercials made by animation is ordinary today．So is multimedia presentation．However，animation is an interdisciplinary Subject not only because of the above mentioned simple applications，but more importantly because of its virtualization feature．II II..APPLICATION OF ANIMATION V I RTUALIZATION INART DESIGNA.Application of Animation Virtualization in Environmental Art DesignAS is known to all environmental art designers,environmental art design involves a11ground environments on the surface of earth and all the design categories related with decoration．They are illustrated in effect pictures no matter they are garden design，landscape design，facade or small environment design,with the goal of demonstrating the effect clearly and directly．With the constant development of3D technology and the prevalence of3D animation,environment art designers are now trying with3D animation technology to simulate the real world and reflect the effects of design．This will release the burden of the effect picture and present the design more clearly and directly．By giving a camera to the effect picture，adjusting the position of the camera from picture to picture with the animation tools provided by 3DMax,and demonstrate the effect picture with multi-positions and multi-angles,it is as if a teal camera is shooting in the real world．This multi-positional simulated demonstration，plus voice and sound effect,is both direct and full of fun．The pre-set camera will play video of the building under design or the garden,the1andscape and the room decoration from different angles,accompanied by beautiful melodies．The pre-recorded illustrator voice will explain the design plans as the camera changes pictures．Such a method of animation virtualization of effect pictures is increasingly more prevailing today．3D animation technology enables environment art designan excellent platform of demonstration，ushering the illustration of design effect into a new era．B.Application of Animation Virtualization in Industrial DesignIndustrial design is endowment of new quality and qualification to material structure，form,color，surface processing and decoration with training expertise, experiences and visual perception，as defined by International Council of Societies of Industrial Design(ICSID)on the Paris Conference in1980．The core of traditional industrial design is product design,i.e.,response to tools and equipments generated by the relationship between mall and nature,including design of material equipments essential to life and existence such as tools,devices and products.However，no matter what material equipment it is,the design will finally have to be presented by models or effect pictures.Designers can draw effect pictures of their idea of design by hand or with3D software on computer to show the exterior outlook and interior structure of the product,make models to test the outlook and the structure，and finally produce and present moulds to the public．Once the moulds are made，the shape,size，form and color0fthe product is directly visible,but the functions and operation method of the product arc not as easy to see．Animation virtualization solves this problem by clearly showing the functionality and operation method of the product，When the moulds are made，the designer can display the product with animation，which can clearly show both the interior structure and the functionality.Moreover，narration that explains the idea of design frees the designer from long and tedious introduction words．Product animation virtualization can also be applied by marketing.pre-sales and promotion of the products．It is an“electronic manual”that tells consumers how to use the Product,which is as direct,clear，and interesting as a multimedia coursework of tool software.With development of animation virtualization technology,designers today can conduct idea development，technique design and functionality simulation without actual models or prototypes．They can also present the outlook features，performance tests and safety tests and even start mass production．The application of animation virtualization enables industrial design with a new starting point in both termsof form and scientific analysis．C.Application of Animation Virtualization in Industrial DesignTV and film are a most prominent cultural phenomenon in the20th century．From a certain aspect，film-video art is an integrated subject that shares commonality with many other forms of arts.Many art elements of different art forms are absorbed by file-video arts and turned into an intrinsic element of itself,which thus becomes an integrated vide-audio an form．The introduction of digital technology，in means of animation virtualization mimicking of live performance,makes unprecedented breakthroughs of the video-audio effects of film-video arts，winning applauses from the audience with magical picture effects．Animation virtualization hit the TV-movie industry in as early as1933with the launch of movie King Kong，despite that all the stunts in movies back then wereproduced in the stop-motion method．Computer technology enables wide application of digital technology in film-video arts,and stop-motion method was gradually replaced by computer．Human actors play against a blue background．Then via computer software,image of the performance is matted into a virtualized scenario．Movie10,000BC was played by human actors and actresses,but living environment of man in10,000BC was virtualized．This movie also virtualized the performance of mammoth by matting a virtual character into a real world scenario and synthesizing them together．For another example，in the new edition of King Kong，professionals virtualized the character King Kung in animation and synthesized it into real scenario with digital technology．Take Yangtze River VII for another example．The cute ET pet was totally virtualized,from the character to all its motions．For some movies,not only the scenario is virtualized,but the characters are virtualization of humans as well．Japanese TV drama Dinosaur Taskforce Koseidon that was broadcast in1990s was a good example.Soldiers fighting with ETs are played by human actors，but the scenarios with dinosaurs were virtualized According to sources, MTV film awards set an additional virtualized performance award for human-made movie characters.Import of animation virtualization technology enables the means and ends to upgrade profoundly to meet the changing demands of technology,society and entertainment.With animation virtualization and animated stunts,the movies and TV dramas are more impressive visually and are more attractive to audiences.The extensive application of animation virtualization in art design field boosts film-video art into a higher level，and has a significant influence on the display pattern as well as on industrial design method．It contributes to the art design industry and many other industries with the distinctive optimization features．III..OPTIMIZATION OF ANIMATION VIRTUALIZATIONIIIA.Reflection of the optimization of animation virtualizationThree-dimensional animation is able to turn designs on paper into virtual scenario. which saves1abor，material and time cost and thus raises efficiency．Urban plan of a metropolitan，for example，is first conceived in the mind of designers．Then it is roughly presented by drawings and shown to the public．Finally the draft drawings are more clearly reflected by a large amount of effect pictures．Because urban plans usually cover a very large space with a considerably amount of details and because each location and direction of the city will need to be shown in details in the effect pictures，a significantly large amount of effect pictures are needed．Hand-drawn effect pictures prevailed before computer came into being．When computer was used on a large scale．3D software is used to produce effect pictures，whose effects are greatly improved compared with hand-drawn ones．However，pictures on paper are limited in the ability of reflecting the idea of the designer．Once the plan is implemented，improper designs will result in dismantlement and re-construction，wasting labor,material and time．What is worse sometimes the plan has to be re-designed.When virtualized animation came into birth，3D software is able to generate virtualized animation from the planning and produce each section of the space underdesign，including streets，buildings，grassland，public utility，and even location of fire hydrants and high-voltage wires，1inked by a camera in movement to realize360 degree all-round display．The audiences will feel immersed in the environment,with strong sensual impacts as if they are in the real environment．With digital interface, the audience can also obtain data information of t11e project any time in the virtualized world．This greatly facilitates the planning，design，bidding，application and management of large—scale complicated projects，and helps the designer and management to conduct assistant design and assessment of different plans．Because virtualized animation is based on real-world data,the3D scenario strictly fo llowing engineering standards and requirements of the project can represent the project under design very vividly,and the design flaws that are invisible in the past can now be easily detected.Moreover,we can easily amend data to adjust building height，change material and color of the building façade,and change the parameter of intensity of forestation．As losses caused by improper design，which cannot be rescued in the past．can now be avoided，assessment quality of the project is greatly enhanced.Plus virtualized automobiles and passengers,image of the urban planning is directly visible．The video can be made into multimedia files to show the public for them to take part in the assessment and in the meantime the plan is known by the public widely．B.Optimization Functionality of Virtualized AnimationOn traditional passenger aircraft．before the aircraft takes off,cabin crew will stand in front of the aisle to demonstrate to passengers about what to do before the take-off,where to get and how to wear oxygen mask and life vest，how to open the parachute,and where the emergency exits are．On new aircraft，human demonstration is replaced by Virtualized animation video．Before the airplane takes off,in front Of each row of sent there will be a screen showing animation that simulates a passenger sitting on the seat and doing the above actions.It tells passengers what to be cautious about on the seat and what to do when the airplane is in emergency,such as where to get the oxygen mask and life vest，which part of the aircraft passengers should go to in all emergency situation，how the emergency exits are opened，and how passengers should escape from the exits, together with voice narration,as if it is real.Functionality of virtual animation is far more than that on airplanes．In real1ife,in many situations virtual animation can replace human demonstration．For example，it can demonstrate when a patient is in emergency，what people around him or her should do and how to use fire hydrant in case of fire．In modem military exercise，plan and route of the operation can be made into a virtualized animation to simulate the real world war-game,which can be shown to officers and soldiers that will participate in the operation and for them to discuss．Anything improper in the plan can be corrected in a timely way．With the development of computer technology，virtualized animation technology becomes more powerful．Its optimization functionality enables it to be extensively adopted by different industries with wider range of usage．By leveraging animation virtualization technology，in the process of simulatingthe real world，the player can experience the total process of the event as if it is all real．They an also review data in the process of production，implementation，product/service supply，and logistics to make sure the plan is being executed correctly and appropriately．In this way，flaws and problems call be quickly detected，and the task can be fulfilled with less uncertain factors．The total virtualized animation call be operated in some cases to realize an interactive communication，so that the player participates in the virtual situation．IV.INTERACTION OF ANIMATION VIRTUALIZATION Learning through games is no new concept．Today，knowledge such as actions to take in fire or earthquake emergencies is taught via animations．The animation simulates the situation of a fire emergency．As the situation evolves in the games，a window pops up at every stage to alert the player of what objects to use，how to use them and what actions to take．The game designs different possibilities and options,as if the player is encountered with a real fire．The player will be presented with different scenario according to what choice he or she makes. Finally,the player will be able to escape from the fire with help from firemen and the game is over.The virtualized fire game props up an alert of what actions should be taken every step,so the players can play the game and at the same time learn how to deal with fires from this interactive animation game Thus knowledge is leant through game play.Similarly,an interactive game that victimizes an earthquake can set a number of scenarios such as at home，on the way to office，on road，or in a car．When the earthquake breaks out，a piece of alert will appear on the computer screen to tell where the player should move to and how to protect him or herself.When the player does so,the scenario will move on,and multiple possibilities are designed for each scenario．For instance,if the player is stuck when he or she is in the middle of running away,the game will tell him or her how to make use of objects around to sustain life and get rid of the dangerous environment with assistance from relief people．For another instance,if in the virtual environment the player is injured by big stone and bloods severely，the game will tell him or her how to make rise of objects available to handle the wound,rescue oneself,and wait for relief people．The player will also be taught about how to conduct first aid on people around who are hit by stones or are stuck in a confined space．If the player follows the instruction and makes every step correct,the system will praise him or her with“Great!”Such interactive animation is already widely adopted by pre-schooling education because it is interesting and mysterious.When the kids finish a movement,they look forward to enter the next scenario,and different choice will lead to different results. As the kids learn from games,they do not feel boring,which is more effective than pressing knowledge into their minds．It is popular with education websites in western countries to design courses into interactive animations．Take cooking course for example．The player click button on “how to make Italian noodles”.For every step the player goes，the system will notice him or her about what gadget to use and how to operate.When the noodles arc made ready，the system will evaluate the dish based on the operation of the player.In the。
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。
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。
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-日本艺术和动画卡通外文翻译
本科毕业论文外文翻译外文题目：Japanese Art and the Animated Cartoon出处：The Quarterly of Film Radio and Television作者：Taihei Imamura原文：Japanese Art and the Animated CartoonTAIHEI IMAMURA is one of Japan's leading motion picture critics and has written a number of books on the social and aesthetic aspects of the film, as well as editing Eiga Bunka (Movie Culture), the only motion-picture magazine in Japan. The following article, which was translated from Japanese by Fuyuichi Tsuruoka, is to appear as a chapter in Mr. Imamura's On the Animated Cartoon. THE ANIMATED CARTOON has made little progress except in America, but the popularity of Disney films, rivaled in universal appeal only by the films of Chaplin, gives reason to hope that there will be a world-wide development in the field of animation, each country adapting the techniques of animation to its own artistic tradition.Unfortunately, the Japanese animated cartoon is not as unique an art as that of America despite the fact that Japanese art in the past was distinguished by its originality. It may well be that ancient Japanese art, considered critically, is the art of a less advanced society, but this does not mean that a Japanese style of animation can or should dispense with it. Whether we like it or not, traditional art must be the foundation of a truly Japanese animated cartoon. Originality in the new form will not be attained by ignoring the past, for the animated cartoon, like other modern forms of art, is a development of inheritances from the past. It has been pointed out by S. M. Eisenstein that ancient Japanese art has characteristics closely related to those of the animated cartoon and employs similar methods.The Japanese picture scroll, considered as a picture story, is actually a distant antecedent of the animated cartoon, the first attempt to tell a story with a time elementin pictures. The chief difference between the animated cartoon and the picture scroll is that the individual pictures in the scroll do not move. On the other hand, neither does the single frame of a motion picture. The illusion of movement results, in both forms, from the differ-ence between each picture and the one that follows. Each picture (whether in the picture scroll or the movie) is inanimate, a still of arrested motion. When the pictures are seen in time, one after another, they seem to move. That objects and people appear to have motion is secondary; the essential movement is the progress of an idea. A representation of mere motion is not art unless it advances an idea, or is the visual image of original and creative thought. Both the motion picture and the Japanese picture scroll are plastic expressions of ideas, and consequently, though the picture scroll is centuries old, have fundamental techniques in common.To illustrate, a Japanese picture scroll shows the opposite sides of a battleship simultaneously although the ship is in a position where only one side could actually be seen. By the ordinary laws of perspective, we cannot see the opposite side of an object, so the battleship is drawn twistedly. This is a negation of a monistic visual angle and of common sense. It is the same method as that of Futurism or Cubism.To let us see both sides of an object from one point of view is to reveal the side which is ordinarily unseen or that we do not expect to see. The one side is "real" and the other is "unreal," so that the unreal side should be considered to exist through the real one, to be predicated upon the real side as probable or neces-sary. It is an imaginative unification of both sides, distorting perspective to express an idea.Double exposure in the motion picture serves the same pur-pose, allowing us to see both sides of one thing at the same time, or two objects in different places at the same time.Both the motion picture and the picture scroll have other tech-niques that overcome the physical limitations of the human eye. The motion-picture montage is essentially the same as the un-synchronized revolving method in the picture-scroll drawing, for example, and the cutback also has its counterpart in the scroll. In the picture scroll and the motion picture we can see the living conditions of a man in the city and his lover in the country synchronously, alternately, and in parallel. Obviously,what we see in the scroll exists only in our minds; but the same is true of the motion picture, even though it shows us real objects and people and places. It is not because they are often part of an imagined story. A newsreel montage of London, Tokyo, and New York shows us real cities, but to see New York one moment and Tokyo the next is inconsistent with reality, and demands that we accept a negation of time and space. In a sense, then, double exposure, montage, and cutback are techniques which transform reality into idea.What we actually see in a motion picture or a picture scroll is the visualization of an idea. It does not matter whether individual shots and drawings are literal representations if they help to reveal the idea. For example, the Fukinukiyakata (no-roof-house-picture) in the picture scroll allows us to look down from above on a roofless house with the interior plainly visible. In the real world, houses are roofed, but in the world of the picture scroll we accept the roofless house as real. In fact, in our imagination, the house is roofed, but we are able to see through it. Similarly, in the motion picture, we may view a room full of people from above, as in The Merry Widow (1934), in which a ballroom scene is photographed from the chandelier. In our imaginations, it is not the camera but we, ourselves, who view this scene from above. Only in the imagination can one stride over the mountain or fly over the fields quite freely, as in the picture scroll of Shigisan Temple, or in the many modern motion pictures in which we see objects from all angles. The camera, too, lets us fly over fields.The distortion of reality is more apparent in the picture scroll because it becomes, frequently, a distortion of perspective. For example, to achieve an effect similar to that of the motion-picture close-up, picture-scroll artists drew some figures extraordinarily large in comparison with the objects surrounding them. The best examples are in the mountain hermitages seen in the Shigisan- Engi and the figures praying on the summit in the Egaratenjin- Emaki. Perspective is intentionally disregarded and the figures ex-aggerated so that the eyes are attracted to the most important ones; the human figures gradually become larger than the mountains, which finally seem no larger than those of a miniature garden.It is no accident that the picture scroll and the motion picture use similartechniques. Both must be dynamic in order to develop a story moment by moment, attracting and holding the spectator's interest in picture after picture. The Bandainagon Ekotaba pic-ture scroll, for example, opens with a picture of men rushing to and fro. They frown, cry, wave hands, and point toward some-thing. More men appear, and the excitement increases. We see a gate and the uproar comes to a climax. Some of the throng climb a stone hedge. Suddenly, through the gate, black smoke appears and flames leap against a long line of people. Next moment we see that the open gate is aflame.The rapid tempo of the fire scene helps to create the impression of people rushing about and, what is more important, speeds the development of the story toward a climax. Most American movies attract interest through just such direct and rapid plot develop-ment in the opening scenes.In the further development of the plot, the picture scroll uses a technique similar to the motion-picture montage. The action is abbreviated and the climaxes of several scenes are presented in quick succession. Sometimes this technique of abbreviation is used to show the passage of time, as in a pictorial biography of St. Ippen in which, between pictures of action, is a picture of a running stream and pampas grass waving in the wind, indicating a passage of time. The next picture shows a priest lying on his deathbed surrounded by grief-stricken people. The next picture shows only the saint's face covered with a white cloth. He is dead.It seems clear enough that there are strong resemblances between some aspects of the Japanese picture scroll and the modern motion picture. The Japanese animated cartoon should use, in the modern medium, the traditions it inherits from the past. The most important thing the Japanese animated cartoon can learn from the picture scroll is its use of imaginative power. The scroll came out of a backward and stagnated feudal Japan; under such oppression people generally find release in their imaginations rather than in reality. When the picture scroll presented real scenes as though viewed from high above, it implied a celestial point of view, expressing the idea that salvation should be sought in the unearthly world.The heavier the oppression, the more people escaped to such salvation and livedin their imaginations. Yet even in the most imaginative scrolls a concern with the realities of life shows itself. Imagination does not necessarily make us forget realities but can stimulate our awareness of them. The picture scrolls that excel in imagination excel also in realism.Among these are Choju Giga Zukan (picture scroll of birds and beasts), Gaki-Zoshi (storybook of famished devils), and Hyakki- Yako-Zu-Emaki (picture scroll of pandemonium). The animals in Choju Giga Zukan are anatomically correct, but the scroll depicts the corrupt living conditions of the aristocracy and clergy in the end of the Heian era, a thousand years ago, by showing the rats in full court dress and the frogs wearing red skirts with lotus leaves in their hands, and so on.The Gaki-Zoshi pictures not only famished devils but actually the starving people in the Kamakura era, four hundred years ago. The abominable group of famished devils, their hands and feet thin, like dead branches, bellies strangely swelling, hair growing disheveled, and uncanny eyes shining in vain, cannot fill themselves. The more they eat, the hungrier they become; the more they drink, the thirstier they are. They are avarice itself, sauntering hither and thither only to eat and drink. They grasp every filthy thing. Because everybody recognizes that these ugly devils lie hidden in his soul, the ghostly scenes terrify us even now. Here are depicted the real vices through the devils of an unreal world.The Hyakki-Yako-Zu-Emaki is a caricature of the Tokugawa era of the eighteenth and nineteenth centuries. At the beginning of the scroll we see a big toad dragging a handcart to a feast. A rat is pointing ahead. Two others, holding a sutra desk, stand on either side. On the front of the cart, a long-nosed goblin's face is peeping out; from its back window a moon-faced woman is smiling evilly. Under her exaggeratedly separated eyebrows are crescent-shaped eyes and a dumplinglike nose stuck on to the flat face as if blown there by the wind. The painter obtains an effect of evil by showing this terribly unbalanced face from the window. Later, in a scene of a revel, the utensils are personified. There are con-fused candlesticks with faces and hands, bells with eyes and noses, whistling wine cups, and dancing tops of fence posts, centering around the long-nosed goblin and the moon-faced woman. A hatchet with eyes, putting on armor, advances toward a dead tree that is holding up both hands,about to run away. Through such scenes the picture scroll describes a feudalistic monarch's self-satisfaction, his retainers' ignorance, and their corrupt living con-ditions. The scenes are full of fun rather than mystery, but we find nothing humorous in them at all. The drawing style of the pictures corresponds to the content; there are no straight lines but only lines that express ripeness and decomposition. The living conditions and feudal atmosphere are made more vividly real by being presented imaginatively.When the modern Japanese animated cartoon portrays man's real inner feelings and desires with this kind of imaginative power, it will become an art of a higher order.译文：日本艺术和动画卡通太平今村是日本著名的电影评论家之一，他撰写了大量关于社会和美学电影方面的书籍，以及编辑Eiga日本文化（电影文化），该杂志是日本唯一的具有运动画面的杂志。
影视动漫专业毕业论文：基于AdobeAfterEffect的公益广告制作
广州涉外经济职业技术学院Guangzhou International Economics College毕业设计（论文）Graduation Paper题目：基于Adobe After Effect的公益广告制作二级学院：________ ____ _专业班级：学生姓名：学生学号：指导教师：完成日期：__________________ _____________________摘要随着经济的发展，让人们为了更好的生活，于是背上了行囊，远离家乡，在外打拼。
然而，在外面打拼的我们迫于学习和工作的压力，则让我们的父母在家中孤独的等待。
多陪陪父母吧！学习的东西太多，我们永远学不完。
工作的事情也是做不完的。
而我们的父母亲人却在慢慢的老去。
我们原本为了然他们过上更好的生活，但如今好像违背了我们的初衷。
让他们在孤独中度过。
然而公益广告能够用一些最简单、朴实的画面让人们的心灵有所触动。
公益广告是以为公众谋利益和提高福利待遇为目的而设计的广告，本文主要谢了公益广告的价值以及运用后期合成软件Adobe After Effects 进行一则以家庭为主题的公益广告制作。
简单的讲述了制作公益广告的目的与制作方法，以及总结的一些经验和教训。
关键词：公益广告；Adobe After Effects ；后期合成AbstractWith the development of economy, make people for a better life, so back the bags and far from home, outside the struggle.However, outside in the struggle of our study and work under the pressure, let our parents at home, lonely wait.Spend more time with parents!Learning so much, we learn forever.Work is done.While our parents loved ones slowly old.We had to let them live a better life, but now seem to contradict our original intention.Let them spent in solitude.However, public service ads can use images of some of the most simple and unadorned let people's mind.Public welfare advertisement is thought the public interests and improve the benefits designed for the purpose of advertising, this paper mainly thanks the value of public service ads and use in the software Adobe After Effects with family as the theme of public welfare advertisement.Simply tells the story of the purpose of making public service ads and production methods, and summarizes some experiences and lessons.Keywords: public service advertising； Adobe After Effects ；composition目录摘要 IAbstract I绪论 1第1章公益广告 1一、什么是公益广告 1二、这则家庭公益广告的缘起、目的与内容 1 第2章 Adobe After Effects 的运用 1一、关于片头的制作 1二、画面内容的制作 1三、画面的衔接与过渡 1四、视频的动画节奏调整与后期校色等工作 1 结语 1致谢 1参考文献 11. 绪论在现代信息社会中，广告已然成为人们日常生活中的一部分。
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。
动漫设计与制作英语
动漫设计与制作英语英文回答：What is Anime Design and Production?Anime design and production refers to the process of creating animated films and television series in the Japanese anime style. Anime is a unique form of animation that has gained worldwide popularity due to its distinct visual aesthetic, compelling storylines, and diverse genres.Design Process.The design process for anime typically involves several key steps:Concept Development: The initial stage involves brainstorming ideas, developing characters, and craftingthe overall story arc.Character Design: Animators create distinctive character designs that convey personality, emotions, and backstories.Background Design: Elaborate background art sets the scene and enhances the visual appeal of the anime.Color Design: Colors play a vital role in conveying mood, atmosphere, and visual impact.Animation Production.Once the designs are finalized, the animation production process commences:Keyframe Illustration: Keyframes are crucial frames that define the main movements and poses of the characters.In-Between Animation: Animators create frames between keyframes to smooth the motion and create realistic movement.Background Animation: Backgrounds are animated to create depth and movement in the scenes.Special Effects: Special effects, such as explosions, smoke, and lighting, add dynamism to the animation.Editing and Sound Design.The final steps involve editing the footage, adding sound effects and music, and creating the final cut of the anime.Unique Features of Anime.Anime is characterized by several unique features that set it apart from other animation styles:Expressive Characters: Anime characters are highly expressive, with exaggerated facial expressions and body language.Detailed Visuals: Anime often features intricatebackgrounds, detailed character designs, and vibrant colors.Diverse Genres: Anime encompasses a wide range of genres, including action, adventure, comedy, drama, fantasy, and romance.Storytelling Style: Anime storytelling is known forits complex storylines, emotional depth, and memorable characters.Industry in Japan.Anime production is a significant industry in Japan,with numerous studios specializing in creating this popular form of entertainment. The industry has a strong domestic market as well as a global fan base.中文回答：动漫设计和制作。
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。
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。
动画专业英语第三单元(三样东西)
character n. 人物，角色，性格，品质； 特征；
1
It's that kind of courage aakes him such a remarkable character...
就是那种勇气和决心使他成为如此了不起的人。
2
accurate adj. 精确的 Police have stressed that this is the most accurate description of the killer to date.
During production, Character Simulation happens in tandem with the work of the animation department. Character Simulation TD's use combination of commercially available simulation software and in-house tool-kits to fine-tune the fit and physical properties of a garment in every shot. Character Simulation TD's must use a combination of technical, aesthetic and creative skills to efficiently create an attractive and consistent result.
In this exhibit, we hope you’ll discover the wonder and purpose of the handmade art that is the groundwork from which our animated stories spring, as you join us in celebrating the art and artists of Pixar.
动画专业英语2015
目录1.动画及特点Animation and its Characteristics2.动画史Animation and History3.动画种类Types and Animation4.动画风格Styles and Animation5.动画艺术家Animation Artists6.动画工作室Animation Studio7.动画片介绍Animation Film8.动画节Animation Festival9.动画剧本写作Animation Script Writing10.中间画Inbetween11.色彩与材质Color and Material12.运动Motion13.镜头入门Film Camera14.合成Composting15.动画软件Animation Software16.动画市场Animation Market17.动画产业Animation Industry18.动画产品Animation Products19.动画技术应用Applied AnimationLesson oneAnimation and its CharacteristicsTextAnimation comes from the Latin word animare which means to give life to. This is what our animators do. They create characters and bring them to life. Whether a spoon, a dog or a person, all characters take on human mannerisms. In the English language animation is mostly associated with the work of filmmakers. Animation refers to the process in which eachframe of a film or movie is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to model (see claymation), and then photographing the result. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement. Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process.Now, people believe animation is good for:●Illustrating processes.●Describing things not possible in real word.●Summarizing complex real-word events.New wordsLatin n.拉丁文,拉丁语animator n.动画师character n.角色，人物mannerism n. 特殊习惯associated adj. 关联的；联合的frame n. 格，画面produce v.创作;引起individually adv. 个别地，单独地generate vt. 生产graphic n. 图形image n. 图像model n. 模型string v. 排成一排illusion n. 幻想，错觉continuous adj. 连续的intensive adj.强烈的labour intensive 劳动密集型，劳动强度大的tedious adj. 乏味的development n. 发展illustrate v. 阐释，图解summarize v. 概括complex adj.复杂的Practice1. Make judgments according to the text.(1) Animation comes from a Latin word.(2) Now animation means a kind of film.(3) Animation is good to describe something abstract.2. Translate into Chinese(1) Whether a spoon, a dog or a person, all character take on human mannerisms.(2) Animation refers to the process in which each frame of a film or movie is producedindividually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to model (see claymation), and then photographing the result.(3) Generating such a film is very labour intensive and tedious, though the development ofcomputer animation has greatly sped up the process.3. Translate into English.（1）小城的建筑呈现出拉丁风格。
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。
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。
动画英文作文模板高中生
动画英文作文模板高中生Animation English Composition Template for High School Students。
Introduction。
Animation has become an integral part of our lives, with its influence extending to various aspects of entertainment, education, and communication. As high school students, it is important to understand the significance of animation and its impact on our society. This article aims to explore the world of animation and its relevance to high school students.Definition of Animation。
Animation is the process of creating the illusion of motion and change by rapidly displaying a sequence of static images. It involves the manipulation of images to create the illusion of movement, often using techniques such as traditional hand-drawn animation, computer-generated imagery (CGI), and stop-motion animation. Animation can be found in various forms, including movies, television shows, video games, and online content.Importance of Animation for High School Students。
动画英文作文模板高中
动画英文作文模板高中Title: High School English Essay Template for Animated Films。
Introduction。
Animated films have become an integral part of our culture, captivating audiences of all ages with their colorful visuals, engaging stories, and memorable characters. From classic Disney movies to modern CGI masterpieces, animated films have the power to transport us to fantastical worlds and inspire us with their timeless messages. In this essay, we will explore the impact of animated films on society, their artistic and technical achievements, and their ability to entertain and educate audiences.Body Paragraph 1: The Evolution of Animated Films。
Animated films have come a long way since the early days of hand-drawn animation. With advancements in technology, animators are now able to create stunning visuals and lifelike characters through computer-generated imagery (CGI). This evolution has allowed for greater creativity and innovation in storytelling, as seen in films such as "Toy Story," "Frozen," and "The Incredibles." Additionally, the rise of 3D animation has brought a new dimension to animated films, immersing audiences in breathtaking worlds and enhancing the overall viewing experience.Body Paragraph 2: The Artistry of Animated Films。
animationthewholestory（第三部分）汉译实践报告分析
分类号学校代码ｔ０５４２密级学号０８２００９５８００２３Ａｎｉｍａｔｉｏｎ：ＴｈｅＷｈｏｌｅＳｔｏｒｙ（第三部分）汉译实践报告ＡＲｅｐｏｒｔｏｎｔｈｅＴｒａｎｓｌａｔｉｏｎｏｆＡｎｉｍａｔｉｏｎ：．ＴｈｅＷｈｏｌｅＳｔｏｒｙ（Ｐａｒｔ１１１）指导教师姓名、职称整送堑塾撞学科研究湖南师范大学学位评定委员会办公室二。
一四年五月４．５．２语序调整…………………………………………………２０４．６篇章布局调整…………………………………………………２１５．任务总结……………………………………………………………．．２５５．１关于译前准备的思考…………………………………………２５５．２关于汉译策略的思考…………………………………………２５５．３关于忠实与通顺的思考………………………………………２６６．报告结语……………………………………………………………．．２７６．１主要研究结论…………………………………………………２７６．２研究的不足以及展望…………………………………………２７６．３报告建议……………………………………………………２８参考文献………………………………………………………………．．２９附录：翻译资料………………………………………………………．．３ｌ致谢辞…………………………………………………………………．．６５湖南师范大学学位论文原创性声明…………………………………．．６７湖南师范大学学位论文版权使用授权书……………………………．．６７翻译硕士学位论文定挑战，为保证科技文译本内容的精准无误，这种文体的翻译多以直译为主，而对于这本融入了作者自身个性的科技类教材，如果仅仅使用直译，必然无法使中国读者感受到原文的魅力所在，更无法让动画学习者们从书中体会到学习的乐趣。
Ａｎｉｍａｔｉｏｎ：ＴｈｅＷｈｏｌｅＳｔｏｒｙ（第三部分）汉译实践报告２．翻译任务描述此为作者第一次所做的长篇英译汉工作，并且是与同行分工协作，接到翻译任务后，译者着手译前准备工作，从以下三个方面对其进行分析。
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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。