浅谈阿德曼的美术风格和叙事策略

来自英国以制作定格动画、黏土动画作品而闻名的动画影视作品制作公司——阿德曼动画,在动画行业和观众心中都获得充分认可。文章结合具体的阿德曼动画公司的动画作品设计实例,从阿德曼动画公司作品的简介切入,主要谈了阿德曼特有的美术风格特点,并简要分析其作品的叙事策略等一系列问题。     

动画新番，决战十月！

作为全年的收官之战，十月新番将是年内众多动画厂商争夺观众的最后一块阵地，30余部作品的阵容也让我们闻到了浓浓的火药昧。这次小编就从中挑选了8部为大家进行重点介绍，其中不乏一些重头作品的续作，有些则是原创的新面孔。不过好在每部动画都有各自的看点所在，相信不同口味的观众都能从中挑选出自己喜欢的类型，赶紧往下看吧!     

浅析2D转3D类动画片的发展现状

在动画产业飞速发展的今天,动画技术也在快速的发展。传统二维动画制作方式已逐渐被三维技术所替代,近几年还出现了将曾经经典的二维动画片重新演绎成三维动画片的现象。然而并非每一部转型后的作品都能够续写经典,或超越原有的经典,很多作品甚至得不到观众和动漫市场的认可。形成这种局面的原因很多,文章将针对有代表性的几部动画作品做出分析,找到其原因。经典的二维动画片成功的因素很多,在再塑三维动画的过程中,准确地找出他们成功或失败的原因并加以分析,希望能为之后的2D转3D类动画片制作和发展提出有益的意见或建议,并对以后制作更好的该类动画片提供帮助。     

使用动作脚本设计互动媒体

使用Flash制作动作,如果只基于时间轴和动画图层来设计,将会受到很大的限制,例如一些复杂、精彩的动画效果难以实现,也不能让观赏者与媒体互动,即媒体不具有交互性。要想动画具有交互性,能使观赏者通过选择来控制播放的顺序或呈现不同的内容,就需要使用Flash的动作脚本语言。     

真人劳拉到卡通的演变

第一次看《终结者2》时，电脑制作的变形动画让我感叹不已，多希望自己也能制作这样一个动画效果呀，但是苦于专业的动画软件难以掌握，只好望“屏”兴叹，几年后的今天，我利用“奇幻变脸秀”（Fanta Morph）根轻松就制作出了专业级的变形效果。     

用C++实现交互式实时动画技术

一、引言 近年来,随着三维实体造型设计、三维动画设计及多媒体技术的发展,计算机图形学进入了一个空前繁荣的崭新阶段。看到3D—Studio等动画制作软件强大的三维建模功能灵活的动画编辑功能及平滑逼真的视觉效果,我们惊叹的同时,更希望自己的工作中也能使用这些先进的图形技术。 通常3D—Studio等软件主要是用于影视等动画的制作及广告的创意等,     

从动画取材看创意来源

动画的魅力在于它能在另外一个空间里激发人们无限的想象能力。中国动画从辉煌到沉寂,其间的曲折给予我们很多的反思。本文从动画的取材和创意来源来探讨动画创作,希望通过分析美日两国动画的改编创作以及与中国动画的比较,使中国找到适合自己发展的动画创作之路。     

二维动画制作中的影视后期合成软件

动画的后期制作是二维动画制作中的最终环节,也是非常关键的环节,这一环节做的好将为整个动画作品制作流程起到事半功倍的效果。而影视后期合成软件是这环节的直接参与者。本文选择了多款影视后期合成的软件进行了研究,从软件的运行平台、功能特点等方面进行分析,让大家能更好的了解这些软件。     

Web中动画的制作——GIF Construction的应用

Internet上的动画越来越多,越做越好看。我想每个网页制作爱好者都希望能够在自己的网页中加入一些动画,来吸引更多的访问者。那么我们一起来看看软件GIFConstruction,它能够很快,很方便地制作出一些简单的动画和标识。 由多个不同的GIF文件组成的动画 大多数的动画都是由许多幅不同的图像按照一定的顺序组成的。在打开GIF Construction之前,我们应当先制作几个GIF图(Photoshop4.0、CorelDraw6.0等软件都能输     

针对Flash动画课程的教学研究

Flash作为一种优秀网页动画设计软件,自推出十多年来,因其能将音乐、声效、动画以及富有新意的界面融合在一起,制作出高品质的网页动态效果,展现形式生动有趣,被越来起多的观众喜爱,面对这种流行趋势,许多高校纷纷开设有关Flash动画制作这门课.本文笔者就目前的开设现状、教学方式结合自己在这门课程的教学体会,对该课程进行研究并提出自己对该课程的教学建议.     

Semi-supervised context adaptation: case study of audience excitement recognition

To recognise just the same human reaction (for example, a strong excitement) in different contexts, customary behaviours in these contexts have to be taken into account; e.g. a happy sport audience may be cheering for long time, while a happy theatrical audience may produce only short bursts of laughter in order to not interrupt the performance. Tailoring recognition algorithms to contexts can be achieved by building either a context-specific or a generic system. The former is individually trained for each context to recognise sets of characteristic responses, whereas the latter??in contrast to the context-specific one??adapts to the context via significantly more lightweight modification of parameters. This paper follows the latter way and proposes a simple modification of a hidden Markov model (HMM) classifier that enables end users to adapt the generic system to a context or a personal perception of an annotator by labelling a fairly small number of data samples of each context. For better adaptability to the limited number of the user??s annotations, the proposed semi-supervised HMM classifier employs the maximum posterior marginal, rather than the more conventional maximum a posteriori decision rule. The proposed user- and context-adaptable semi-supervised HMM classifier was tested on recognising excitement of a show audience in three contexts (a concert hall, a circus, and a sport event), differing in how the excitement is expressed. In our experiments the proposed classifier recognised reactions of a non-neutral audience with 10% higher accuracy than the conventional HMM and support vector machine based classifiers.     

Writing as process and product: The impact of tool, genre, audience knowledge, and writer expertise

Two experiments investigated the impact of writing tool (word processing or handwriting), genre (narrative or exposition), and audience (familiar or unfamiliar) on measures of writing quality, syntactic complexity, and number and type of initial text production revisions. In the first, 84 undergraduates with little word processing experience wrote letters by hand or computer. The 64 subjects in Experiment 2 were experienced college writers who always wrote by computer. Subjects composed more syntactically complex letters of higher rated quality to an unfamiliar audience than to a familiar one. Handwritten letters were of higher rated quality than word processed. Although there were more total revisions when using a word processor, there were more text-preserving than meaningful revisions. The number and distribution of revisions also depended upon the writers' level of experience. The Hay es and Flower (1980) model of the writing process remains a useful heuristic, but our data indicate that it warrants extension.     

Collaborative Writing of Text and Hypertext

A good writer understands his audience. Collaborative writing allows authors to act as readers and thus to create text which an audience is more likely to appreciate. This paper describes four sets of experiences in collaborative writing. In one of the experiences secondary school students who were unable to produce a sophisticated document independently were able to produce a quality document through a group process. Given the correct combination of authors and goals, a simple computer editor can be very helpful. Hypertext differs from text in that links among chunks of text are made explicit. It could be argued that collaborative writing would work particularly well with hypertext because the links among the writers' ideas could be more easily explored. In experiences with graduate students at two universities, this hypothesis has not been supported. The students did not understand how these links should be created and thus could not collaboratively write hypertext.     

Audience real-time bio-signal-processing-based computational intelligence model for narrative scene editing

Narrative scene editing is carried out by directors as an eidetic technique. Continuity editing is a style of editing used in film making to make films as realistic as possible for the audience. While non-continuity editing (e.g., flashbacks, jump cuts, montages, etc.) is also a critical factor that reflects the character of a director, most scenes demand continuity editing to maximize the audience’s narrative immersion. In this paper, we present an algorithm for continuity editing that determines the size of a shot (field of view) by evaluating the psychical distance between the characters and viewers via the measurement of electrodermal activity (or the galvanic skin response). The use of this continuity editing algorithm is expected to result in more audience-friendly videos by reflecting the level of identification between the actors and the audience.     

一种基于统计模型的立体显示格式识别算法

近期,立体显示技术被越来越多的观众接受,大多数视频播放器都同时支持立体视频的播放和普通视频的播放.但普遍存在这样的问题,播放器在载入视频文件时不能识别视频的显示格式.这意味着观看者需要使用普通播放器预览视频后,由用户确定视频文件的播放方式.本文将实现一种算法,可以帮助用户在载入视频文件时识别视频的显示格式及左右通道顺序,并将结果输出由观看者二次选择、确认,进而开始正常的放映.因此该算法将应用统计模型分两步实现,第一步,利用立体图像中有明显中轴线这一特征,对图像做快速识别;然后,计算并使用对图像的统计特征值区分各类图像.第二步,如为立体图像,则继续利用统计特征值进一步识别左右通道顺序.经过大量试验,本文所述算法可以达到总体98％以上的识别率,能较好的应用于实际.     

互动与融合——装置艺术在广告中的应用

广告为了在人们接触的海量信息中脱颖而出,获得更多的关注,适时融入各种艺术、科技手段,强调广告的内涵,重视广告与受众的交流。而装置艺术常运用多种艺术手段,采用不同的材料创造一种观众参与的现场感,与现代广告的设计思路不谋而合。装置艺术的这种特性将成为广告设计创新灵感的又一源泉。     

Designing a Special Library's Intranet for an Engineering Audience

ABSTRACT

Designing a successful library Web site for an engineering audience means researching how engineers find and use information. It also requires the special librarian to conduct usability tests to determine what is and isn't working on the site. The special librarian is more than simply a librarian, he or she must be able to take the research and the test results and either build the Web site or make sure the site is built by a team. The librarian must be able to play several roles: researcher, tester, project leader, and Web manager. The more successful the librarian is at involving users in site design, the more used and usable the site will be. This article describes one librarian's experience with designing a special library Intranet. It also includes an extensive bibliography of related articles.     

On function languages and parallel computers

This paper is a discussion of functional languages and parallel computers. It is aimed at an audience that has a background in computer architecture, but not necessarily in the area of functional languages. It therefore constitutes an introductory survey of functional languages, on the one hand, and a non-introductory discussion of parallel computers, on the other. The aim is to highlight some important issues regarding the use of adequacy of these languages and also on the design of parallel computers to interpret them. The concluding thesis of put forth is twofold: one, that to widen their scope of applicability, functional languages need to include more features of nondeterminism and may need to be integrated with features from conventional languages; two, that the right sort of architectures for such extended languages may well be less-specialised ones with a von Neumann flavour.     

A bumpy ride on the information superhighway: Exploring turbulence online

Managing our personal information is becoming increasingly complex as people share more and more about themselves and others online. Beyond the ordinary challenges people face in disclosing information in face-to-face settings, the Internet presents additional demands users must take into account related to the size and diversity of their audience as well as the longevity and accessibility of their communication. Using survey data from a diverse group of young adults, this paper explores turbulence online, that is, the breakdown of privacy expectations that result in information spreading beyond a user’s desired audience. More than a third of these young adults reported at least one turbulent encounter online ranging in tangible consequences like ending a friendship or trouble at work or school to emotional trouble like feelings of embarrassment or betrayal. Results suggest that successful privacy management online requires a combination of social and technological skills and behaviors. Findings also bring to light new questions on self- versus other-generated turbulence and broader implications for researchers, designers, and users.