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Options for animators include three-year Bachelor of 2-D Animation, Bachelor of 2-D/3-D Animation, and Bachelor of Visual Effects programs, as well as a two-year Master of Supervisor Director of Animation Special Effects. Students will tackle the creation of storyboards, layout, sets, characters and the production of 2-D/3-D animation. The use of 3-D and 2-D animation was very creative. The 2-D animation was used for flashbacks or when Jesus was telling stories (such as the parables) which gave a realness to the 3-D characters. Also, the 3-D

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In 1989, Alias was chosen to animate the pseudopod in James Cameron's The Abyss, which gave the software high-profile recognition in movie animation. In 1990 this developed into PowerAnimator, often known just as Alias.[127]1984: Wavefront was founded by Bill Kovacs and others, in California, to produce computer graphics for movies and television, and also to develop and market their own software based on SGI hardware. Wavefront developed their first product, Preview, during the first year of business. The company's production department helped tune the software by using it on commercial projects, creating opening graphics for television programs. In 1988, the company introduced the Personal Visualiser.[128][129]1984: TDI (Thomson Digital Image) was created in France as a subsidiary of aircraft simulator company Thomson-CSF, to develop and commercialise on their own 3-D system Explore, first released in 1986.1984: Sogitec Audiovisuel, was a division of Sogitec avionics in France, founded by Xavier Nicolas for the production of computer animation films, using their own 3-D software developed from 1981 by Claude Mechoulam and others at Sogitec.[130]1986: Softimage was founded by National Film Board of Canada filmmaker Daniel Langlois in Montreal. Its first product was called the Softimage Creative Environment, and was launched at SIGGRAPH '88. For the first time, all 3-D processes (modelling, animation, and rendering) were integrated. Creative Environment (eventually to be known as Softimage 3D in 1988), became a standard animation solution in the industry.[131]1987: Side Effects Software was established by Kim Davidson and Greg Hermanovic in Toronto, Canada, as a production/software company based on a 3-D animation package called PRISMS, which they had acquired from their former employer Omnibus. Side Effects Software developed this procedural modelling and motion product into a high-end, tightly integrated 2-D/3-D animation software which incorporated a number of technological breakthroughs.[132]1989: the companies TDI and Sogitec were merged to create the new company ExMachina.Computer animation expands in film and TVThe decade saw some of the first computer-animated television series. For example Quarxs, created by media artist Maurice Benayoun and comic book artist François Schuiten, was an early example of a CGI series based on a real screenplay and not animated solely for demonstrative purposes.[133] VeggieTales, an American Christian media, is also one of the first computer-animated series. Phil Vischer came up with the idea for VeggieTales while testing animation software as a medium for children's videos in the early 1990s.The 1990s began with much of CGI technology now sufficiently developed to allow a major expansion into film and TV production. 1991 is widely considered the "breakout year", with two major box-office successes, both making heavy use of CGI.The first of these was James Cameron's movie Terminator 2: Judgment Day,[134] and was the one that first brought CGI to widespread JF (2005) As-rigid-as-possible shape manipulation. ACM Trans Graph (ToG) 24(3):1134–1141. Google Scholar Kaji S, Hirose S, Sakata S et al (2012) Mathematical analysis on affine maps for 2D shape interpolation. In: Proceedings of ACM SIGGRAPH/Eurographics symposium on computer animation (SCA). Eurographics Association, Goslar Germany, Germany, pp 71–76, Kawamoto, Yotsukura T, Anjyo K et al (2008) Efficient lip-synch tool for 3D cartoon animation. Comput Animat Virtual Worlds (CAVW) 19(3–4):247–257. Google Scholar Kazi RH, Grossman T, Umetani N, et al (2016) Motion amplifiers: Sketching dynamic illustrations using the principles of 2D animation. In: Proceedings of the 2016 CHI conference on human factors in computing systems (CHI). ACM, New York, NY, USA, pp 4599–4609, M, Kanamori Y, Mitani J, et al (2013) Motion frame omission for cartoon-like effects. In: Proceedings of international workshop on advanced image technology (IWAIT), Nagoya, Japan, pp 148–152Koyama Y, Goto M (2018) Optimo: Optimization-guided motion editing for keyframe character animation. In: Proceedings of the 2018 CHI conference on human factors in computing systems (CHI). ACM, New York, NY, USA, pp 1–12, Z, Gotsman C (2014) Smooth rotation enhanced as-rigid-as-possible mesh animation. IEEE Trans Visual Comput Graph (TVCG) 21(2):264–277. Google Scholar Maejima A, Kubo H, Shinagawa S et al (2021) Anime character colorization using few-shot learning. In: SIGGRAPH Asia 2021 technical communications. ACM, New York, NY, USA, pp 8:1–8:4Morimoto Y, Semba T et al (2019) Generating 2.5D character animation by switching the textures of rigid deformation. Int J Asia Digit Art Des 23(2):16–21. Google Scholar Morishima S, Kuriyama S, Kawamoto S, et al (2007) Data-driven efficient production of cartoon character animation. In: ACM SIGGRAPH 2007 sketches. ACM, New York, NY, USA, p 76es, T (2016) The art of inbetweening: Timing charts. Y, Huang Z, Zhao C et al (2021) Sketch-based human motion retrieval via shadow guidance. In: 2021 Nicograph international (NicoInt). IEEE, Tokyo, Japan, pp 42–45, A, Igarashi T, Durand F (2010) 2.5D cartoon models. ACM Trans Graph (ToG) 29(4):59:1-59:7. Google Scholar Roberts R, Lewis JP, Anjyo K et al (2019) Optimal and interactive keyframe selection for motion capture. Comput Vis Media (CVMJ) 5(2):171–191. Google Scholar Sorkine O, Alexa M (2007) As-rigid-as-possible surface modeling. In: Proceedings of eurographics symposium on geometry processing (SGP). The Eurographics Association, Goslar, DEU, pp 109–116, Q, Bai X, Fu H et al (2018) Live sketch: Video-driven dynamic deformation of static drawings. In: Proceedings of the 2018 CHI conference on human factors in computing systems (CHI). ACM, New York, NY, USA, pp 662:1–662:12, D, Dingliana J, Collins S (2009) As-rigid-as-possible image registration for hand-drawn cartoon animations. In: Proceedings of the 7th international symposium on non-photorealistic animation and rendering (NPAR). ACM, New York, NY, USA, pp 25–33, D, Dingliana J, Collins S (2009) Lazybrush: Flexible painting tool for hand-drawn cartoons. Comput Graph Forum (CGF) 28(2):599–608. Google Scholar Thorne M, Burke D, van de Panne M (2004) Motion doodles: An interface for sketching character motion. ACM Trans Graph (ToG) 23(3):424–431. Google Scholar Wang J, Drucker SM, Agrawala M et al (2006) The cartoon animation filter. ACM Trans Graph

Difference between 2-D and 3-D Animation - GeeksforGeeks

Matthew Girardi ... additional effects Thomas Haley-Hermiz ... technical director: Stereo D Courtney Johnson ... compositor: Copernicus Studios Inc. Scott F. Johnston ... animation art & technology (as Scott Johnston) Andrew Kennedy ... technical director: Stereo D Soon Nam Kim ... digital ink and paint: NE4U Inc. Patrick Long ... compositor: Copernicus Studios Inc. Julianne Martin ... compositor Christopher Montesano ... pipeline supervisor (as Chris Montesano) Carson Murdy ... compositor Karl Pajak ... effects animation David Jeffrey Phillips ... compositing supervisor Jason Plapp ... additional effects Paula A. Rios ... compositing supervisor: Titmouse Inc. Timothy N. Ryan ... compositor (as Timothy Nelson Ryan) Phillip Vigil ... effects animation Trevor Von Klueg ... compositor Bea Walling ... compositor: Hornet Inc. Woo Jae Young ... compositor: NE4U Inc. Darren Bailey ... operations coordinator: Stereo D (uncredited) Animation Department Jhon Eric Accad ... animator: Snipple Animation Studios Rick Acosta ... additional animator Marius Alecse ... additional animator Elizabeth Allan ... animator: Copernicus Studios Inc. Hillary Allan ... animator: Copernicus Studios Inc. Kirby Allen ... character animator Eliar Angsioco ... background artist: Snipple Animation Studios Alexi Ansell ... animator: Titmouse Inc. Luis Apusen ... layout artist: Snipple Animation Studios Ira Archibald-Faloon ... animator: Copernicus Studios Inc. Marco Ascalon ... animator: Snipple Animation Studios (as Marko Ascalon) Rex Avila ... background supervisor: Snipple Animation Studios Alvin Balenbin ... layout artist: Snipple Animation Studios Ryan Barringer ... ink and paint: Big Jump Entertainment Louie Bartolome ... animator: Snipple Animation Studios Jimbern Bergado ... background artist: Snipple Animation Studios Richard Besana ... animator: Snipple Animation Studios Chloe Boudreau ... animator: Copernicus Studios Inc. Janelle Bourque ... background artist: Copernicus Studios Inc. Bryan Britanico ... animator: Snipple Animation Studios (as Bryan Lou Britanico) Benjy Brooke ... animation director: Hornet Inc. Alex Brown ... animation revisions: Slap Happy Cartoons Carmen Cameron ... animator: Copernicus Studios Inc. Jason Campbell ... animation revisions: Slap Happy Cartoons Karlo Cayetano ... animator: Snipple Animation Studios Juliet Chan ... animator: Snipple Animation Studios Caleb Chappell ... animator: Copernicus Studios Inc. Kang Hei Chul ... animation director: NE4U Inc. Sarah Cloutier ... ink and paint: Big Jump Entertainment Bodie Coba ... background artist: Snipple Animation Studios (as Ediluardo Coba) Jesus Colon ... animator: Titmouse Inc. David Crocker ... animator: Copernicus Studios Inc. Brenda Cruz ... layout artist: Snipple Animation Studios Gabriel Cruz ... animator: Snipple Animation Studios Nestor Cruz ... layout artist: Snipple Animation Studios (as Nesty Cruz) Fernan Darag ... layout artist: Snipple Animation Studios (as Fernando Darag) Jeff Dela Rosa ... background clean-up artist: Snipple Animation Studios Ross dela Vega ... layout artist: Snipple Animation Studios Ma. Rodyline Detayson ... animator: Snipple Animation Studios Tyler DiBiasio ... animator: Hornet Inc. Ron Doucet .... Options for animators include three-year Bachelor of 2-D Animation, Bachelor of 2-D/3-D Animation, and Bachelor of Visual Effects programs, as well as a two-year Master of Supervisor Director of Animation Special Effects. Students will tackle the creation of storyboards, layout, sets, characters and the production of 2-D/3-D animation. The use of 3-D and 2-D animation was very creative. The 2-D animation was used for flashbacks or when Jesus was telling stories (such as the parables) which gave a realness to the 3-D characters. Also, the 3-D

2 3-D Visualization and Animation Techniques in Structural

If you guys follow Jason Zander’s (Visual Studio corporate Vice President) blog, you learned two days ago that the Visual Studio 2010 Service Pack 1 whose Beta had been released last December achieved final release stage. Today is generally available (last Tuesday was only for MSDN subscribers).You can get it from here.Let’s summarize the list of C++ new features and fixes that are included in this release. You’ll find an expanded description beyond C++ in this Microsoft Support article.New C++ FeaturesMFC-based GPU-accelerated graphics and animationsVisual Studio 2010 SP1 enables the following two technologies for MFC:Direct2D, a hardware-accelerated, immediate-mode, 2-D graphics API that provides high performance and high-quality rendering for 2-D geometry, bitmaps, and text. For more information, visit the following Microsoft website: Direct2D. Windows Animation Manager, which enables rich animation of user interface elements. For more information, visit the following Microsoft website: Windows Animation Manager.You can take advantage of these two technologies without breaking the MFC programming model. Additionally, you can find demos in the following directory: [drive]:Program FilesMicrosoft Visual Studio 10.0Samples1033VC2010SP1Samples.zipFor more information about the technology improvements in Visual Studio 2010 SP1, visit the following website: MFC Additions for Visual Studio 2010 SP1.New AMD and Intel instruction set supportVisual Studio 2010 SP1 adds intrinsic functions or intrinsics to enable the extensions on the AMD and Intel new microprocessors (being released this year). The intrinsic functions allow for highly efficient computing without the overhead of a function call. For more information about the intrinsic function, visit the following website: Compiler ReferencesAlexa M, Cohen-Or D, Levin D (2000) As-rigid-as-possible shape interpolation. In: Proceedings of the 27th annual conference on computer graphics and interactive techniques. ACM, New York, NY, USA, pp 157–164, C, Jacobs DE, Sanders J et al (2008) Video puppetry: A performative interface for cutout animation. ACM Trans Graph (ToG) 27(5):124:1–124:9. W, Ki Anjyo (2006) Latent doodle space. Comput Graph Forum (CGF) 25(3):477–485. Google Scholar Baxter W, Barla P, Anjyo Ki (2008) Rigid shape interpolation using normal equations. In: Proceedings of the 6th international symposium on non-photorealistic animation and rendering (NPAR). ACM, New York, NY, USA, pp 59–64, W, Barla P, Anjyo K (2009) N-way morphing for 2D animation. Comput Animat Virtual Worlds (CAVW) 20(2–3):79–87. Google Scholar Bregler C, Loeb L, Chuang E et al (2002) Turning to the masters: motion capturing cartoons. ACM Trans Graph (ToG) 21(3):399–407. Google Scholar Carvalho L, Marroquim R, Brazil EV (2017) Dilight: Digital light table-inbetweening for 2D animations using guidelines. Comput & Graph (C &G) 65:31–44. Google Scholar Chen R, Weber O, Keren D et al (2013) Planar shape interpolation with bounded distortion. ACM Trans Graph (ToG) 32(4):108:1-108:11. Google Scholar Choi B, i Rebera RB, Lewis JP et al (2016) SketchiMo: Sketch-based motion editing for articulated characters. ACM Trans Graph (ToG) 35(4):146:1-146:12. Google Scholar Choi MG, Yang K, Igarashi T et al (2012) Retrieval and visualization of human motion data via stick figures. Comput Graph Forum (CGF) 31(7):2057–2065. Google Scholar Ciccone L, Öztireli C, Sumner RW (2019) Tangent-space optimization for interactive animation control. ACM Trans Graph (ToG) 38(4):101:1-101:10. Google Scholar Davis RC, Colwell B, Landay JA (2008) K-sketch: A ’kinetic’ sketch pad for novice animators. In: Proceedings of the SIGCHI conference on human factors in computing systems (CHI). ACM, New York, NY, USA, pp 413–422, P, Ramos G, Bibliowitcz J, et al (2008) Video browsing by direct manipulation. In: Proceedings of the SIGCHI conference on human factors in computing systems (CHI). ACM, New York, NY, USA, pp 237–246, D, Humphreys G (2006) A spatial data structure for fast poisson-disk sample generation. ACM Trans Graph (ToG) 25(3):503–508. Google Scholar Fukusato T, Maejima A (2022) View-dependent deformation for 2.5D cartoon models. IEEE Comput Graph Appl (CG &A) 42(5):66–75. Google Scholar Fukusato T, Morishima S (2016) Active comicing for freehand drawing animation. Math Prog Expressive Image Synth III:45–56. Google Scholar Furukawa S, Fukusato T, Yamaguchi S, et al (2017) Voice animator: Automatic lip-synching in limited animation by audio. In: International conference on advances in computer entertainment (ACE). Springer, Cham, Switzerland, pp 153–171, M, Ronfard R, Gleicher M et al (2015) Space-time sketching of character animation. ACM Trans Graph (ToG) 34(4):118:1-118:10. Google Scholar Hornung A, Dekkers E, Kobbelt L (2007) Character animation from 2D pictures and 3D motion data. ACM Trans Graph (ToG) 26(1):1–9. Google Scholar Iarussi E, Bousseau A, Tsandilas T (2013) The drawing assistant: Automated drawing guidance and feedback from photographs. In: Proceedings of the 26th annual acm symposium on user interface software and technology (UIST). ACM, New York, USA, pp 183–192, T, Moscovich T, Hughes

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Points, transforming one character into another was a relatively simple inbetweening.[119]The AbyssIn 1989 James Cameron's underwater action movie The Abyss was released. This was one of the first cinema movies to include photo-realistic CGI integrated seamlessly into live-action scenes. A five-minute sequence featuring an animated tentacle or "pseudopod" was created by ILM, who designed a program to produce surface waves of differing sizes and kinetic properties for the pseudopod, including reflection, refraction and a morphing sequence. Although short, this successful blend of CGI and live-action is widely considered a milestone in setting the direction for further future development in the field.[120]Walt Disney and CAPSThe Great Mouse Detective (1986) was the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. CGI was used during a two-minute climax scene on the Big Ben, inspired by a similar climax scene in Hayao Miyazaki's The Castle of Cagliostro (1979). The Great Mouse Detective, in turn, paved the way for the Disney Renaissance.[121][122]The late 1980s saw another milestone in computer animation, this time in 2-D: the development of Disney's "Computer Animation Production System", known as "CAPS/ink & paint". This was a custom collection of software, scanners and networked workstations developed by The Walt Disney Company in collaboration with Pixar. Its purpose was to computerize the ink-and-paint and post-production processes of traditionally animated films, to allow more efficient and sophisticated post-production by making the practice of hand-painting cels obsolete. The animators' drawings and background paintings are scanned into the computer, and animation drawings are inked and painted by digital artists. The drawings and backgrounds are then combined, using software that allows for camera movements, multiplane effects, and other techniques—including compositing with 3-D image material. The system's first feature film use was in The Little Mermaid (1989), for the "farewell rainbow" scene near the end, but the first full-scale use was for The Rescuers Down Under (1990), which therefore became the first traditionally animated film to be entirely produced on computer—or indeed, the first 100% digital feature film of any kind ever produced.[123][124]The 1980s saw the appearance of many notable new commercial software products:1982: Autodesk Inc was founded in California by John Walker, with a focus on design software for the PC, with their flagship CAD package AutoCAD. In 1986, Autodesk's first animation package was AutoFlix, for use with AutoCAD. Their first full 3-D animation software was 3-D Studio for DOS in 1990, which was developed under license by Gary Yost of The Yost Group.[125][126]1983: Alias Research was founded in Toronto, Canada, by Stephen Bingham and others, with a focus on industrial and entertainment software for SGI workstations. Their first product was Alias-1 and shipped in 1985.

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Attack's charge animation) r r B Hyper Berserk = [MF] - d d A *Super Saiya* (Uses HP) Backward Roll = [M] - d d B Flee = [F] - d d B (XD) Emote = [MF] - d dr r A (Has various styles XD) Aerial Butt Slam = [F] - d dr r B Flying Kick = [M] - (On Air) d dr r A Cannonball = [M] - (On Air) d dr r B Meteor Slam = [F] - (On Air) r r A Note 1. Male novices running stance cannot be comboed out of, you have to stop running to be able to attack. ================================================== === In case you're wondering, [MF] means Male or Female Male and Female have different animations and therefore combo differently~ Try playing everyone of them untuk bisa mengeluarkan beberapa skill kadang ada hubungannya dengan stat. Berikut skillnya Swordman : 1. Kombo 2 pukulan = agi 10 2. kombo 3 pukulan = agi 20 3. Tackle = str 20 4. Lower Attack (dilakukan diudara) = dex 20 (sayang untuk swordman cewe nda isa skill ini) 5. Bash Di udara = dex 20 Archer cowo : 1. Kombo 2 pukulan = agi 10 2. kombo 3 pukulan = agi 20 3. Shoulder Tackle = str 10 4. Air Arrow = dex 30 5. Back Step = dex 30 butuh 5 sp 6. Lower Attack = dex 30 cewe : 7. Shoot Forward = dex 30 8. Double Kick = str 10 Magician: Cowo. Options for animators include three-year Bachelor of 2-D Animation, Bachelor of 2-D/3-D Animation, and Bachelor of Visual Effects programs, as well as a two-year Master of Supervisor Director of Animation Special Effects. Students will tackle the creation of storyboards, layout, sets, characters and the production of 2-D/3-D animation.

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You drop from the air faster too) Decrease AGI = [MF] - l l A (Spell Charge) (Slows down enemies moving speed) Angelus = [MF] - d rd r B (Spell Charge) (Increase DEF for certain amount of time) Blessing = [MF] - d d A (Spell Charge) (Increase STR, INT, and DEX for certain amount of time) -Special Move- Spell Charge = [MF] - D Midair Repeated Straight Punches = [M] - d rd r A (in air only) (15STR, 20DEX) Spinning Kick = [M] - r r A (5DEX) Spinning Thrust = [M] - r r B (10STR, 10DEX) Holy Hammer = [F] - r r A (10INT) Holy Home Run = [F] - r r B (10STR) -Passive Skill- Divine Protection = [MF] (Increase overall DEF) Demon Bane = [MF] (Increase overall ATK) Note 1. Female acolyte : 10DEX for 2 Weak combo, 10DEX & 10STR for 3 Weak combo 2. Female Acolyte's aerial Teleportation takes her to the ground and ground Teleportation takes her mid-air. ================================================== === Novice - Active Skill- First Aid = [MF] - D Play Dead = [MF] - d D (Can be used in air) -Special Move- Crazy Charge = [M] - r r A (2~3 screens wide XD) Roll Attack = [F] - r r A Charged Attack = [MFa] - r r B , B to stop charge and attack Cartwheel Attack = [M] - (During Charged Attack's charge animation) r r B Light Saber = [F] - (During Charged