Computer Animation

Movie trailers, or previews, are an important method of advertising movies. They are extensively shown before movies in cinemas, as well as on television and increasingly, over the Internet. Making a trailer is a creative process, in which a number of shots from a movie are selected in order to entice a viewer in to paying to see the full movie. Thus, the creation of these trailers is an integral part in the promotion of a movie. Action movies in particular rely on trailers as a form of advertising as it is possible to show short, exciting portions of an action movie, which are likely to appeal to the target audience. This paper presents an approach which automatically selects shots from action movies in order to assist in the creation of trailers. A set of audiovisual features are extracted that aim to model the characteristics of shots typically present in trailers, and a support vector machine is utilised in order to select the relevant shots. The approach taken is not particularly novel but the results show that the process may be used in order to ease the trailer creation process or to facilitate the creation of variable length, or personalised trailers.

The recent past has seen a proliferation in the amount of digital video content being created and consumed. This is perhaps being driven by the increase in audiovisual quality, as well as the ease with which production, reproduction and consumption is now possible. The widespread use of digital video, as opposed its analogue counterpart, has opened up a plethora of previously impossible applications. This paper builds upon previous work that analysed digital video, namely movies, in order to facilitate presentation in an easily navigable manner. A film browsing interface, termed the MovieBrowser, is described, which allows users to easily locate specific portions of movies, as well as to obtain an understanding of the filming being perused. A number of experiments which assess the system's performance are also presented.

L'industria globale dell'animazione si trova in una congiuntura storica definita da un profondo paradosso. Da un lato, i dati economici descrivono un settore in robusta salute finanziaria, caratterizzato da una crescita costante e proiezioni ottimistiche che ne confermano lo status di pilastro dell'industria dell'intrattenimento. Dall'altro, emerge un quadro di crescente precarietà e crisi per il capitale umano che ne costituisce il cuore creativo e produttivo. Questa divergenza tra la traiettoria economica del settore e la stabilità occupazionale della sua forza lavoro non è una fluttuazione ciclica, ma un disallineamento strutturale catalizzato e accelerato dall'avvento pervasivo dell'intelligenza artificiale (IA) generativa. Il presente report si propone di analizzare quantitativamente le molteplici dimensioni di questa trasformazione, esaminando come l'IA stia simultaneamente agendo da motore di crescita economica e da agente di profonda disruption per i modelli lavorativi, le dinamiche salariali e gli equilibri etico-legali del settore.

The process following the invention of photography is a period when there are discussions as to whether this discipline is a technological development or a form of art. The photography has not lost its quality as a document since its invention; however, the technological developments that progress further with the industrial revolution created some points where the photography intersects with alternative disciplines. One of these concepts is communication and marketing. Thanks to the unexpected effects of the Bauhaus school created in the art of the world, the graphical design, and photography have become an indispensable element of the visual communication design. It is not necessary to avail photography in the content of all graphical design products, however; it is a known fact that the designs that use an effective photography among the numerous graphical object which tries to attract attention in the daily life stand out. The photography does not require graphical design as a f...

Due to the interdisciplinary nature of design education, it has a very broad spectrum ranging from motion picture to informative design methods. Animation techniques are also one of the important parts of this wide variety of work. Today, almost every institution is involved in animation techniques in design education. Animation with various application methods is the field where the most creative examples of motion pictures are revealed.  The purpose of this research is to discuss the place of flip book animation in design education and to investigate its contributions to design education, which is one of the creative animation techniques. It is considerably significant that students experience how the form of motion pictures is created through one of the methods at a beginning level and understand the nature of motion picture in design education process. Flip book animation, is a method by which students will be able to grasp the logic of creating motion pictures using static draw...

Memperolell data yang cukup untuk membuat sebuah film Animasi 3 Dimensi tentang proses menstruasi, yang isinya berbicara tentang proses, serta tipstips yang diajukan untuk para remaja yang belum mengetahui tentang menstruasi. Metode yang digunakan adalah riset / mencari data di Internet, Online Survey, Buku-buku yang bersangkuta~i dengan topik Tugas Akhir,. Referensi yang digunakan diperoleh dari Internet, Buku dan Narasumber yang beyengalaman. Hasil yang dicapai adalah agar pernirsa yang menyaksikan film animasi ini mengetahui dan mengerfi bahwasanya menstruasi itu bukan ha1 yang hams ditakuti ole11 para remaja, justru ha1 tersebut harus diketal~ui ole11 remaja putri. Media yang memiliki pengaruh yang cukup besar adalah media film, terutama anak-anak dapat terpengaruh dengan mudah tnelalui film. Karena itu media komunikasi audio visual dipilih sebagai solusi yang tepat.

In the rapidly evolving landscape of artificial intelligence, integrating generative AI into graduate-level computer graphics and computer arts curricula presents both opportunities and challenges. This case study examines an AI & Filmmaking course at the MFA Computer Arts department at the School of Visual Arts (SVA), designed as a sandbox environment for experimentation with generative AI tools. The course structure prioritized flexibility, enabling students to explore emerging AI-driven creative methodologies through experiential learning in a supportive environment.

Students collaborated on the production of a silent documentary short film centered on a historical event, employing tools such as ChatGPT, MidJourney, and Runway alongside traditional animation and filmmaking techniques. Faculty-led research on Joe Petrosino, a notable early 20th-century New York detective and Italian immigrant, provided the factual foundation for the project. This novel application of generative AI in the development of a documentary film—a truth-seeking medium—opened new avenues for discussion.

The study highlights key pedagogical insights, including how generative AI can catalyze storytelling, enhance collaboration, and introduce new ethical considerations in media production. It also addresses the challenges and responsibilities of using generative AI to reenact historical events. The sandbox approach outlines a framework for integrating generative AI into traditional filmmaking processes with adaptability, focusing on ethics, bias, copyright, and privacy issues.

The PLant ANImation (PLANI) framework allows a designer’s ideas and decisions about virtual plants to be guided through a structured process that results in an animation of a plant. The process proceeds by selecting relevant objects with properties from four logically grouped domains to simplify implementation. The resulting grouped objects are used as the baseline parameters for the coding process to create the virtual plant. PLANI’s construction is based on more than a thousand years of biological research, fifty years of functional-structural plant modelling, and ten years of ontology development, instantiated into an animation environment. PLANI ensures that, when designing virtual plants, a selection of objects derived from an appropriate ontology are considered, and that this selection depends on the purpose of the animation, e.g., whether it is for gaming animation, biological simulation, or film animation. The use of
PLANI provides the developer with a framework that is flexible, covers a wide variety of structural, functional, and animation objects for plants, and provides classification of current computer algorithms by
their applications to designing virtual plants.

Innovations in the digital field have transformed the educational field, especially among children whose learning habits are becoming affected by social networking sites like Instagram, YouTube, and WhatsApp. In this regard, the issue of conservation of indigenous knowledge has taken center stage with the current culture of transmission of knowledge through traditional means being eroded by the new generation. In this paper, I introduce Àwòrán Òwe (Proverbs in Pictures) a current research and creative experiment aimed at teaching children Yoruba proverbs using visual design, illustration and animation. The project lies at the crossroads of cultural preservation, education, and digital experimentation since it turns the traditional proverbs into visual stories that attract the interests of a young audience worldwide. The paper has cited the Multimedia Learning Theory by Richard Mayer to explain the importance of incorporating elements of visual images like bright colours, fun graphics, simplicity and harmony in promoting understanding, memory and culture in children. The methodology is the process of adopting the chosen Yoruba proverbs into the short-animated episodes with the contextual translation into English and spreading them over social media platforms that people could easily access. The method does not only encourage intergenerational communication but also allows language competence, reinforces cultural identity, and instills moral lessons within the Yoruba traditions. The results support the significance of design in the process of making indigenous knowledge more attractive to children in the era of digital entertainment. Through safeguarding the integrity of Yoruba proverbs and modifying them to fit into the modern consumption, Àwòrán Òwe is able to exhibit the possibility of social media as a mode of cultural learning. Finally, the research suggests design-based approaches to connect the traditional knowledge with contemporary education in the globalized society.

This chapter attempts to examine the extent to which Nigerian TV
stations have adopted digital imaging in their operations. To advance this
aim, this chapter will endeavour to provide answers to the following
questions: To what extent do Nigerian TV stations use digital imaging in
their programmes?; What type(s) of digital imaging is/are being used in
Nigeria Television station programmes?; and What is the level of
sophistication of digital imaging being used in Nigerian television
programmes?

Swirling movements, popular among contemporary dancers and choreographers, often embody double rotations of the limbs similar to the Dirac plate or belt trick, in which an object attached to a stationary body by a flexible cord returns to its original state after a rotation of not 360° but 720°. This phenomenon is also seen in the Balinese candle dance, baton twirling, poi, and other performance forms. It is efficiently modeled by the quaternions and illustrates the mathematical theorem that the group SU(2) double covers the rotation group SO(3). We will look at how this plays out in dance and other performing arts, give some suggestions for simple and enjoyable movement tasks that illustrate the concepts, and see how comprehending the embodiment of the quaternions helps us better understand both the mathematics and the relevant movement arts.

This article addresses the process of creating a music video called Icarus using low-cost 3D animation, to be carried out efficiently within a short timeframe, under a student production. Throughout the text, various stages of development are explored, spanning from the initial planning and pipeline setup to the modeling, animation, and rendering phases. Guidance will be provided on suitable techniques and relevant software that can support amateur artists in achieving the desired final outcome.

Comparing Computer Vision Analysis of Signed Language Video with Motion Capture Recordings 2012-05-24 2/12 Motion capture set-up Video footage and the skeleton model extracted using the motion capture equipment 8-camera optical motion capture system 20 markers tracked at 120 Hz in 3 dimensions Data derived from the ulnar and radial wrist markers and the index finger marker of the active hand was used in the analysis. Comparing Computer Vision Analysis of Signed Language Video with Motion Capture Recordings 2012-05-24 3/12 Stages of the computer vision method Comparing Computer Vision Analysis of Signed Language Video with Motion Capture Recordings 2012-05-24 4/12 Stages of the computer vision method 18 ASM-derived features 35 KLT-derived features A vector of 53 dimensions extracted per frame

Manufacturing computer modules which instruct students on efficient procedures for designing parts for manufacture across the curriculum. The goal is to assist engineering students to gain a deeper understanding of the interaction between features of a part being designed and the corresponding manufacturing requirements of the part in injection molding, sheet metal stamping, and finite element analysis. Animated sequences of the processes are either generated dynamnically or indexed according to the possible designs. Students create designs, and the tooling complexity is demonstrated through both 2D and 3D animations. An underlying internal representation of the part being designed provides a non-intrusive critique mechanism to provide feedback to the student.

Son yıllarda görsel sunum tekniklerinin teknolojiyle beraber gelişmesi sonucunda bu tekniklerle oluşturulan adli animasyonlar bazı ülkelerde ceza davalarında önemli bir rol oynamaya başlamıştır. Türkiye’de ise duruşma salonlarında henüz böyle bir uygulama söz konusu olmadığı gibi Türkçe literatürde de bu alanda çalışmalar mevcut değildir. Dolayısıyla bu çalışmada literatüre ve gelecekteki yargısal uygulamalara katkı sağlamak amacıyla doküman inceleme metodu kullanılarak adli animasyonların dünyada -özellikle ceza yargılamalarında- nasıl kullanıldığı, bu uygulamanın
avantajları ve dezavantajları ele alınmıştır. Bu tür delillerin yargılamada objektif ve hukuka uygun şekilde değerlendirilip değerlendirilemeyeceği hususunun üzerinde durulması kritiktir. Bu çalışma hazırlanırken ele alınan yayınlar genel olarak bu tür delillerin yargılamada yardımcı bir araç olarak
kullanılabileceğini fakat belirli etik ve hukuki sınırların gözetilmesi gerektiğini ortaya koymaktadır.

In this paper, we introduce our life-size talking head robotic system, "Mask-bot", developed as a platform to support and accelerate human-robot communication research. The "Mask-bot" hardware consists of a semi-transparent plain mask, a portable LED projector with a fish-eye conversion lens mounted behind the mask, a pan-tilt unit and a mounting base. The hardware is driven by a software animation engine controlling face model selection and calibration augmented by an OpenHRI-based speech communication module that generates text-to-speech responses for conversational exchanges. The system projects the calibrated animated head onto the mask. Via this process the head becomes a life-size talking head in real space as opposed to 2D flat screen space or stereo pseudo-3D screen space. "Mask-bot" can easily change the appearance and behavior of the face model, affording the means for easily evaluating new face platforms for a variety of characteristics, including AV speech synthesis and perception, without building a new actual robotic head, thus accelerating the design cycle for robot heads.

The Thinking Head project has as it aims to develop (i) a new generation Talking Thinking Head that embodies human attributes, and improves human-machine interaction; and (ii) a plug-and-play research platform for users to test software in an interactive real-time environment. Here, project progress is discussed in terms of the four teams: 1. Head Building–(i) Plug-and-Play architecture,(ii) Thinking Media Framework, and (iii) Animation; 2. Human-Head Interaction (HHI)–(i) Wizard of Oz studies, and (ii) joint attention by human ...

Learning about the introduction of plant species remains elusive and the learning process that is still conventional lead learning atmosphere seemed stiff and children are busy playing that needs to be made of instructional media can help the teacher's role in the process of delivery of material. The methodology used to collect data that is relevant topics through library research, interview and observation. Analysis was performed to determine the specifications for the learning needs of instructional media introduction of the types of plants to fit the needs. Results of the research is the formation learning media introduction of plant species based on multimedia to increase interest in learning and understanding of children against this type of plant. Test results showed a hundred percent media of learning about plant species able to increase interest in learning and understanding the kindergarten children Tunas Melati Yogyakarta.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

We present a new system for interactively modeling and rendering non-photorealistic hairstyles. The system is featured with a user-friendly sketch interface allowing a user generate his/her desired hairstyle simply by drawing a few free-form strokes. Hairstyles are modeled with a new polygon based technique called cluster polygon, and can be rendered expressively to obtain hair images similar to those found in cell animation and cartoons.

Digital Advertising using the scribble animation video technique is one of the promotional media used to provide information about Footwear Marks.C products. This video advert aims to attract consumers to buy local products. In order stand out from other promotional videos of similar products, in this video scribble animation effect is added to strengthen the message. The process of visualizing this video advertising starts from data searching, then the data is analyzed and the findings used in the concept drafting. Finally the title, synopsis, and storyboard are made. The next step begins with the selection of actors, the process of filming, video editing, and music composing. The vfx editing stage is where the scribble animation is added with adobe after-effect software. Then, the final stage of rendering occurs, followed by publishing on social media platforms such as Youtube and Instagram. This design produced an animation effect video entitled ”Digital advertising Marks. C Foot...

Cinema is a genera1 purpose animation package designed to work intimately with the SIMAN simulation language. Cinema consists of two parts. The first, called CINEMA, is used to define the graphical images used in the animation. The second, called CSIMAN, is used to execute the animation. Both programs have a user-friendly graphical interface which does not require any programming. Cinema is available on microcomputers as well as Sun, VAX, and Apollo workstations.

Our goal is to build a system of 3D animation of facial expressions of emotion correlated with the intonation of the voice. Up till now, the existing systems did not take into account the link between these two features. We will look at the rules that control these relations (intonation/emotions and facial expressions/emotions) as well as the coordination of these various modes of expressions. Given an utterance, we consider how the messages (what is new/old information in the given context) transmitted through the choice of accents and their placement, are conveyed through the face. The facial model integrates the action of each muscle or group of muscles as well as the propagation of the muscles' movement. Our first step will be to enumerate and to differentiate facial movements linked to emotions as opposed to those linked to conversation. Then, we will examine what the rules are that drive them and how their different functions interact.

While most building simulation tools model occupancy using simple 24-hour profiles, researchers are applying machine learning and other advanced modeling approaches to simulate individual occupants and their interactions with buildings. For building designers to fully benefit from these increasingly advanced occupant models, visualizations must ultimately reveal subtle yet informative patterns contained in the simulation results. As a step in this direction, we focus on 3D animation and the challenges that arise when multiple time scales are involved. Specifically, we explore the use of stylized computer animation to clarify occupant movement, the use of cueing to draw attention to key events, and an original clock widget to consolidate timerelated information.

In this paper, we consider the problem of mobile robots navigating in environments with non-rigid objects. Whereas robots can plan their paths more effectively when they utilize the information about the deformability of objects, they also need to consider the influence of the interaction with the deformable objects on their measurements during the execution of their navigation task. In this paper, we present a probabilistic approach to identify the measurements influenced by the deformable objects. Based on a learned statistics about the influence of the deformable objects on the measurements, the robot is able to perform a sensor-based collision avoidance of unforeseen objects. We present experiments carried out with a real robot that illustrate the practicability of our approach.

Observations are drawn from numerous events of two portable and experiential community participation multi-media environments, Big Tent and Hourglass. These concepts, created and realized by the co-authors, focus upon broadening active public engagement with crossdisciplinary arts. Approaches to venue design and artistic content seek to diversify event location possibilities and encourage community involvement. Specific advantages are noted for both Hourglass, a community dance participation event of immersive live acoustic/electronic music and interactive video, and Big Tent, a portable large scale 360-degree sound and video performing arts venue for audience interactivity. Cox, R. and Smith, B. (2017, March). To the People, Community Engagement with Multimedia Performing Arts Through Portability and Interactivity. Paper presented at the 57th Annual Conference & Stage Expo of USITT, St. Louis, MO.

Figure 1: The project's user experience during field testing: WordToClothing texture generation (Left), motion recording using Muscle-Compression, and choreography. We generated 174 original avatars and their motions in 5 days through a public exhibition (mid). The histogram (right) shows the distribution of the proposed evaluation method for 174 users in the exhibition.

The integration of artificial intelligence (AI) into 3D animation is revolutionizing traditional production pipelines by automating complex tasks such as rigging, rendering, and character movement. This paper explores how AI-driven tools and technologies are reshaping the animation landscape, enhancing efficiency, reducing costs, and fostering creative innovation. Historically, 3D animation has been characterized by labor-intensive workflows that required significant time and technical expertise. Tasks like manual rigging, frame-by-frame animation, and high-resolution rendering have often posed challenges for both small and large production teams. AI, with its ability to learn patterns and automate processes, is addressing these challenges by introducing tools that streamline and optimize these workflows.

A method for interactive manipulation of function-based objects taking into account the physical properties of the environment is proposed. To ensure interactivity, the efficient acceleration methods for function evaluation have been proposed. This method can be used to simulate the movement of solids in the field of gravity, taking into account the definition of collisions. A model describing the collision of solids is also proposed. A dynamically loaded program has been developed and implemented that allows you to interactively manage the scene. Using the program the motion of solid bodies in the field of gravity is modeled, taking into account collisions. The following features are implemented: using different three-dimensional scenes; support for various types of control devices; work with tracks; work with scenarios. The proposed method can be used in computer science, information technologies, computational simulation and the risk field. For example, the method can be used for...

The major issue in markerless motion capture is finding the global optimum from the multimodal setting where distinctive gestures may have similar likelihood values. Instead of only focusing on effective searching as many existing works, our approach resolves gesture ambiguity by designing a better-behaved observation likelihood. We extend Annealed Particle Filtering by a novel gradual sampling scheme that allows evaluations to concentrate on large mismatches of the tracking subject. Noticing the limitation of silhouettes in resolving gesture ambiguity, we incorporate appearance information in an illumination invariant way by maximising Mutual Information between an appearance model and the observation. This in turn strengthens the effectiveness of the better-behaved likelihood. Experiments on the benchmark datasets show that our tracking performance is comparable to or higher than the state-of-the-art studies, but with simpler setting and higher computational efficiency.

The grand piano action is modeled as a set of four rigid bodies using Kane's method. Computerized symbol manipulation is utilized to streamline the formulation of the equations of motion so that several models can be considered, each of increasing detail. Various methods for checking the dynamical model thus derived are explored. A computer animation driven by simulation of the equations of motion is compared to a high-speed video recording of the piano action moving under a known force at the key. For quantitative evaluation, the velocities and angular velocities of each of the bodies are extracted from the video recording by means of digitization techniques. The aspects of the model of particular interest for emulation by a controlled system, namely, the mechanical impedance at the key and the velocity with which the hammer strikes the string, can be studied in the equations of motion and compared to empirical data.

The animation industry, including film, video games, and virtual reality, places a significant emphasis on characters that can speak. The process of rigging, which entails the construction of a digital skeleton and control system for a character, is an essential step in the creation of animations featuring realistic and emotive characters. The purpose of this research study is to investigate the conceptualization and optimization of rigging methods for animated and articulated characters. It looks at the challenges that riggers face and provides inventive solutions to increase the efficiency as well as the overall quality of character animations. The paper investigates the underlying concepts, methods, and algorithms involved in rigging, and it gives case studies to demonstrate the practicality of the offered methodologies. In addition, the document offers some example studies.

This research study takes a closer look at how approaches from machine learning can be implemented into the production of animated characters. Because of recent advancements in machine learning algorithms and the availability of enormous datasets, these techniques open up novel opportunities for the rapid and accurate generation of animated characters. This research looks at some of the most important and useful uses of machine learning, such as data-driven character design, motion capture and animation, style transfer and augmentation, procedural generation, and modelling of character behaviour. In this study, the emphasis is placed on how machine learning algorithms and human artists collaborate to shape and improve the content that is generated. Ethical concerns, such as the presence of biases in training data and the risks associated with automating creative processes, are another topic of discussion. The findings highlight both the potential and the challenges involved in employing methods of machine learning when designing characters and animation.

Food chain is one of the fundamental concepts in the ecological biology which describing feeding relationship between organism categories in a food web in order to gain nutrients and energy. The categories have several levels; producer, primary consumer, secondary consumer, tertiary consumer and decomposer. Teaching theoretical biology concept can be difficult for teacher. Conventional methods such as lecturing even with pictures often unsuccessful to engage student attention. Hence, the teaching and learning process failed to reach the goal which is transferring information from teacher to students. To increase interest and understanding of every process that occurs in this food chain cycle, an application using augmented reality technology is developed. Augmented reality is a technology in the field of multimedia that allows users to visualize the two-dimensional or three-dimensional of virtual objects as part of a realworld environment. The visualization of augmented reality will...

Mobile HMDs must sacrifice compute performance to achieve ergonomic and power requirements for extended use. Consequently, applications must either reduce rendering and simulation complexity -along with the richness of the experience -or offload complexity to a server. Within the context of edge-computing, a popular way to do this is through render streaming. Render streaming has been demonstrated for desktops and consoles. It has also been explored for HMDs. However, the latency requirements of head tracking make this application much more challenging. While mobile GPUs are not yet as capable as their desktop counterparts, we note that they are becoming more powerful and efficient. With the hard requirements of VR, it is worth continuing to investigate what schemes could optimally balance load, latency and quality. We propose an alternative we call edge-physics: streaming at the scene-graph level from a simulation running on edge-resources, analogous to cluster rendering. Scene streaming is not only straightforward, but compute and bandwidth efficient. The most demanding loops run locally. Jobs that hit the power-wall of mobile CPUs are off-loaded, while improving GPUs are leveraged, maximising compute utilisation. In this paper we create a prototypical implementation and evaluate its potential in terms of fidelity, bandwidth and performance. We show that an effective system which maintains high consistencies on typical edge-links can be easily built, but that some traditional concepts are not applicable, and a better understanding of the perception of motion is required to evaluate such a system comprehensively.

The animation and VFX industry is undergoing a massive transformation, thanks to Artificial Intelligence (AI). From streamlining workflows to enhancing creativity, AI is revolutionizing how animation studios and VFX artists create stunning visuals and immersive experiences. If you're a student, artist, or professional aspiring to enter this space, now is the perfect time to understand how AI is reshaping the future of animation and VFX.

AbstractÐThis paper introduces the use of Petri Nets as a modeling and analysis tool for animation environments. Firstly, the original formulation for Petri Nets is applied in two animation situations, one modeled as a state machine and another exploring interdependent transitions. Increasing the complexity level, some modeling extensions are discussed and more sophisticated animation examples are studied.

Requirements engineers need to make sure that the requirements models and specifications they are building do accurately capture what stakeholders really want. Requirements animation has been recognized to be a promising approach to support this. The principle is to simulate an executable version of the requirements model and to visualize the simulation in some form appealling to stakeholders. Most animation tools available to date simulate operational models. Such models in general do not directly reflect the objectives, constraints and assumptions stated declaratively by stakeholders. It is also not possible to focus the animation on particular portions of a complex model relevant to some specific concern. The paper describes a tool aimed at overcoming such limitations by animating goal-oriented requirements models. The tool automatically generates parallel state machines from goal operationalizations, instantiates those machines to specific instances created by users at animation time, executes them from concurrent events input by multiple users, monitors property violations at animation time, and visualizes concurrent simulations in terms of animated scenes in the domain.

In this paper, we present AsmetaA -a graphical animator for Abstract State Machines integrated within the ASMETA framework. The execution of formal specifications through animation provides several advantages, e.g., it provides an immediate feedback about system behavior, it helps understand system evolution, and it increases the overall acceptability of formal methods.

a robotic arm is a mechanical adaptation of human arm with similar functional capability, but with set pre-defined task and instruction it can perform its task with more precision and accuracy. But programming a robotic arm still requires a specific skill set in programming plus following a complex mathematical regime. Hence the user of this robotic arm needs to be a professional trained for this purpose. In this paper we have proposed a designed of a system which enables software with GUI (Graphical User Input) to control functions of Robotic Arm or guide it. The aim of this idea is to remove the complex mathematical regime and provide the user with a simple user friendly interface, which will enable even regular day to day users to use this robotic arm to perform their tasks. All the internal mathematical complexities will be abstracted from the user. The GUI provided to the user would communicate with the software embedded on the robotic arm, enabling control through the GUI. The...

An Interactive Control systems Simulator (ICs) for control engineering education is presented. ICs contains an interactive block diagram editor with which arbitrary linear control systems can be constructed for a library of predefined nonlinear plants. The time response of the constructed system is simulated with animated graphics, and data can be collected for display with the ICs plotting facility. This paper describes the structure and use of ICs and presents two examples.

Copyright © Bu kitabın Türkiye'deki her türlü yayın hakkı Eğitim Yayınevi'ne aittir. Bütün hakları saklıdır. Kitabın tamamı veya bir kısmı 5846 sayılı yasanın hükümlerine göre kitabı yayımlayan firmanın ve yazarlarının önceden izni olmadan elektronik/mekanik yolla, fotokopi yoluyla ya da herhangi bir kayıt sistemi ile çoğaltılamaz, yayımlanamaz.

We develop methods to support users in the process of creation, arrangement and calibration of lights, cameras and sceneatmospheres to produce photorealistic animations. Using techniques and rules in photography and film, we designed and implemented a tool called Stager which can formulate suggestions for a 'good view' of a scene in accordance with special wishes or conditions interactively specified by the user. Our tool works independently of the modelling-and rendering-software. We demonstrate our system on an example in industrial design using the Alias™ Power Animator on Silicon Graphics workstations.

The goal of this paper is to provide a technique to estimate the input parameters for a waveguide physical model. This work is motivated by the fact that the input parameters strongly influence the quality of the synthetic sound produced by the model. Though we examine the case of a bowed string instrument, this technique can be used to estimate parameters of other self-sustained oscillators. We furthermore describe a computer animation of a violin player whose motion is driven by the estimated parameters.

Based on a forthcoming book project, this paper delves into the evolutionary journey of animation technologies, drawing parallels with Thomas Kuhn’s influential theory from “The Structure of Scientific Revolutions.” Kuhn’s framework, which highlights paradigm shifts in scientific thought, serves as a lens to examine the transformative epochs in animation history. The study categorizes the development of animation into five distinct eras: precinematic, analog, digital, real-time, and metaverse-driven. The core of the paper is an indepth analysis of the two latest and most groundbreaking periods: real-time and metaversedriven animation. It explores how these eras, marked by rapid technological advancements, redefine the boundaries of animation. The paper emphasizes the role of spatial computing and artificial intelligence in shaping these new frontiers, offering insights into their integration in animation production. Furthermore, the study scrutinizes the implications of these technological advancements on the animation industry. It discusses how the emergence of real-time and metaverse-driven technologies is not just altering production techniques, but also reshaping content creation, distribution, and consumption in the animation sector. In addition to industry impacts, the paper also explores the educational aspects. It examines how the advent of these technologies necessitates a reevaluation of curricula and teaching methodologies in animation education. The need to equip future animators with skills relevant to these new technological paradigms is highlighted, emphasizing the importance of adapting to the evolving landscape of animation. This study not only examines the historical trajectory of animation technologies but also offers a foresight into its future, contributing to both academic research and industry practices in the f ield of animation.