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Vasiliy Sobolev
Vasiliy Sobolev

Animation Set 11



Since these wallpapers are animated images, they will require extra system resources. However, the wallpaper will pause automatically when using an app or game on full screen or accessing the device through Remote Desktop. And you can set a rule to stop the animation when running on battery.




Animation Set 11


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Additionally, as recording equipment became more compact, Brown began taking a tape recorder out of the studio and into the field to record the sounds in the real world. He then transferred these sounds to film and saved them in his growing sound effects library, allowing for a system in which he could edit his own custom-recorded sounds into future projects again and again. This editorial methodology was entirely new to animation, but quickly became a key part of the process.


As animation itself evolved and films became more life-like, Walt Disney hired Jimmy MacDonald (in 1935) to begin creating custom sound effect machines that he could record inside the studio. MacDonald largely pioneered the creation of sound effect contraptions such as wind and rain machines, glass jug motors, and bowed frog ribbits which replicated the natural sounds of the world in unexpected ways. In his tenure at Disney, MacDonald is said to have created over 28,000 sound effects for 139 features films and 335 shorts.


This technological shift paved the way for animation sound to change from the work of a single man who recorded and edited sound to film to a task assigned to a team of sound professionals, all with different responsibilities.


Modern day animation sound teams are made up of several key positions: a supervising sound editor whose job it is to oversee the entire creative process; sound effects editors or designers who create and sync sound effects to picture; dialogue editors who adjust the synchronization and quality of the recorded dialogue; foley artists who perform footsteps and record props; and re-recording mixers who combine all of these sonic elements together with the addition of music.


Please note that the example animations are only simple examples of what Art of Illusion is capable of to demonstratespecific aspects. Also note that in order to keep the file to a reasonable size, animations have had to be highlycompressed to gif images and thus their quality is far lower than that actually achieved with Art of Illusion.


Like many other 3D animation programs, Art of Illusion handles animations through a score or timeline on which variousactions can be defined. Each object can have a range of different tracks which run along the score and which controlvarious parameters such as position, orientation, scaling as well as more complex controls using skeletons. These willbe looked at in detail in the next few sections.


The vertical green line shows the time position currently viewed in the view windows. As this is dragged along, theobjects in the scene are updated to reflect their actual position in the animation sequence. The position in theanimation can also be controlled from the block of commands in the Animation menu:


Once created, tracks can be edited, deleted, duplicated and temporarily enabled/disabled either by clicking the rightmouse button over the relevant track in the list on the score or via the bottom section of the animation menu.


In terms of the effect on the animation, Interpolating and Approximating produce a gradual deceleration of thebox. With Approximating method, both velocity and acceleration are continuous whereas the acceleration changesdiscontinuously with Interpolating. This results in a smoother animation for the Approximating method.


For example, we can add a Position track to the animation above and select Relative Mode for it. We need to makesure it sits above the Absolute position track because transformations get applied from the bottom up.


The only difference, in fact is the Isotropic (Quaternion) Rotations option. Switching this on means that the endpoint of the rotation is more important that the process of rotations involved in getting there. The program does notnecessarily follow the specified rotation values in each axes but gets to the endpoint by the shortest path possible.For example, if you set a rotation of 270 degrees in the z-axis, Art of Illusion actually treats this as -90 degrees ifquaternion rotations are turned on. Therefore, if you need to set a rotation greater than 180 degrees in any axes, youneed to switch this option off. Bear in mind, however, that if you do this, that the x, y, and z rotations are thenperformed independently in this order: z, x, y and the animation might not do what you expect. In this situation it isbest to rotate only one axis at a time and use parent-child coordinate systems to carry out more complicated rotations.


The example below is a simple example. The curve was drawn as the path followed by a bouncing ball. The path of thesphere was then set to that of the curve with constant speed (not physically realistic, or course). The result is theautomatically created Position Track and the animation shown.


Procedural animation tracks allow the position and orientation of any object to be controlled explicitly usingmathematical equations. This is useful, for instance, in the simulation of real-life physics.


To add a procedural animation track, select the object and click on Animation -> Add Track to Selected Objects andchoose either Position -> Procedural or Rotation -> Procedural. Double-click the track name on the score or selectit and click on Animation -> Edit Track. This will display the procedure editor which is virtually identical to thatused for procedural textures/materials. The obvious difference is that the output modules are X, Y and Z. In the case ofa positional track, these are the x,y and z positions and, in the case of a rotation track, these will be theorientation around each axis.


Note that procedural animation tracks can also be used to apply motions on top of previous motions. Whenever x, y or zvalues are used within the procedure editor, they are the positions or orientations of the object just before this trackis applied. So, for example, the following procedure would double any movements made by previous tracks in the x axis:


To add a Pose Track to an object select Animation -> Add Track to Selected Objects and choose Pose. As with rigidtransformation tracks, setting up an animation is based on moving the time marker to the appropriate point in time onthe score, editing the particular object property using the appropriate dialogue and keyframing the modified tracks.Alternatively, a keyframe can be placed at the required time using Animation -> Keyframe Selected Tracks which can thenbe edited through Animation -> Edit Keyframe.


Using skeletons in animation is often an efficient way of creating new gestures and poses. To do this, create a skeletonand bind it to the mesh. Then, in the same way described above for each gesture, simply move the bones as required andkeyframe the pose. Below is an example using 3 gestures, in addition to the default, and 5 keyframes; the default wasused at the beginning and the end:


Below is another example animation using the sine function to distort the surface of flattened sphere mesh and varyingthe phase of the sine wave with time. The value in front of the x (3 in this case) defines the number of complete sinewaves within a certain distance. The number in front of the t controls the speed of movement of the sine wave. In thisexample, this was equal to 2 x PI (6.283) i.e. one complete cycle per second.


Constraint Tracks are unlike the other tracks that can be created in that they do not have keyframes. They are a way ofconstraining the various transformations of an object during the whole animation. Constraint Tracks are added to anobject by selecting Animation ->Add Track to Selected Objects and choosing Constraint. Double-clicking the relevanttrack name in the list on the score displays the following dialogue:


The first method uses the Time parameter available in the procedural texture editor which can be added to a textureby selecting Insert -> Values -> Time. At any point in the animation, this parameter is equal to the time at that point.Therefore creating a texture which uses the Time parameter will vary accordingly.


Press the center button to start and stop animating the scene. The left and right buttons jump to the time of the veryfirst or very last keyframe on any object. You can adjust how quickly the animation plays by dragging the slider.


Animations are rendered in the same way as with still images via Scene -> Render Scene. This produces the dialoguedescribed in the chapter on rendering. The relevant part of this dialogue for rendering animations is shown below:


The Frames/sec controls the smoothness of the animation; the higher the number of frames per second, the moreinterpolated positions are created and the smoother the animation becomes (but the longer it takes to render and themore diskspace is used).


If you select either TIFF, JPEG, PNG, BMP or HDR the animations will be saved as individual frames in the specifiedimage format. Selecting one of these and clicking OK will display the filename dialogue. Each frame rendered as part ofthe movie will have the filename you enter here with an extension relating to the frame number, e.g. filename0001,filename0002 etc.. The starting number can be changed via the dialogue shown on the left; the default value for this iscalculated according to the start time.


Alternatively, animations can be produced in the Quicktime format by selecting the appropriate option. Note that youneed to have Java Media Framework installed for this to work. See the Installation page for details. 041b061a72


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