Features - Improving the Combat 'Impact' Of Action Games Improving the Combat 'Impact' Of Action Games By Jiesang Song The core game element of many action games ranging from two-player-duel games such as Street Fighter to third person action games such as Ninja Gaiden is the combat. Although there may be other components like puzzle solving, much of the game is spent on attacking another player or NPCs. In this article I will list observations of techniques used in several actions games including: Ninja Gaiden, Soul Calibur 2, Prince of Persia: Warrior Within (POP:WW), Lord of the Rings: Return of the King (LOTR: ROTK), Devil May Cry 2, Dynasty Warriors, and the classic Street Fighter 2. 1. Attack Motion The most obvious and most important factor is creating powerful looking attack animations. Figure 2 shows about every fourth frame (1, 4, 9, 13, 17, 21, 25, 29, and 33) of the full basic combo. While Ninja Gaiden's attacks are fast, the heavier weapons in the game such as the " Dibilharo " in Figure 4 still feel heavy to wield. Damage Motion
Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animations can be recorded on either analogue media, such as a flip book, motion picture film, video tape, or on digital media, including formats such as animated GIF, Flash animation or digital video. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, such as paper cutouts, puppets and clay figures. Etymology[edit] From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of"). History[edit] A Chinese zoetrope-type device had been invented in 180 AD.[1] The Voynich manuscript that dates back to between 1404 and 1438 contains several series of illustrations of the same subject-matter and even few circles that – when spun around the center – would create an illusion of motion.[2] Praxinoscope, The first projection (1877)
Video Tools Skip to main content Get your brand new Wikispaces Classroom now and do "back to school" in style. guest Join | Help | Sign In cooltoolsforschools Home guest| Join | Help | Sign In Home Presentation Tools Collaborative Tools Research Tools Video Tools Slideshow Tools Audio Tools Image Tools Drawing Tools Writing Tools Music Tools Organising Tools Converting Tools Mapping Tools Quiz and Poll Tools Graphing Tools Creativity Tools Widgets File Storage & Web Pages Other Helpful Sites Creative Commons Teacher Resources Apps for Mobile Devices (NEW - Under Construction) Tools index for this site A-Z email Lenva <a href=" Live Blog Stats</a> Actions Help · About · Blog · Pricing · Privacy · Terms · Support · Upgrade Contributions to are licensed under a Creative Commons Attribution Share-Alike Non-Commercial 3.0 License. Portions not contributed by visitors are Copyright 2015 Tangient LLCTES: The largest network of teachers in the world Loading...
Tutorials : Maya FBIK Tutorial MAYA full body IK (FBIK) By:- Ajit Singh Yadav What is full body IK (FBIK) ? Now quickly and easily create natural looking poses and animation for your biped and quadruped characters with the new full body IK (FBIK) in Maya. Maya's full body IK is based on the Alias® HumanIK® solver used in Alias® MotionBuilder. It Makes Maya rigging and Posing Characters Faster, easier and more accurate. The FBX plug-in and file interchange format now allows you to transfer rigged characters animated with FBIK between Maya and MotionBuilder without requiring the animation to be baked. Setting up a character's skeleton works best by using a standard naming convention for joints - these map automatically to the solver. Pulling a finger and the arm will move, but only as far as the nearest shoulder joint. Or pull character hand and you can animate a character reaching up as if grabbing something from a top shelf, and the hips, shoulders, and back will all rotate and bend appropriately. Creating a Skeleton
Key frame Traditional animation[edit] In the workflow of traditional hand-drawn animation, the senior or key artist would draw the keyframes, then, after testing and approval of the rough animation, give the scene to their assistant. The assistant does the clean-up and the necessary 'inbetweens', or, in really big studios, only some breakdown which define the movement in more detail, then give the scene to their assistant, the 'inbetweener' who does the remainder. Animation by means of computer graphics[edit] Use of key frames[edit] A very simple animation created by keyframing. Keyframing[edit] There is also an animation technique known as keyframing. Consider the following examples, created using animated GIFs, wherein a key frame defines the starting and ending points of any smooth transition: As applied to motion[edit] An object will move from the top left corner of the frame to the bottom right corner. Motion using key framesStarting KeyframeEnding KeyframeCompleted Animation Video editing[edit]
YouTube Capture on the App Store What is vector graphics? - Definition from WhatIs.com Vector graphics is the creation of digital images through a sequence of commands or mathematical statements that place lines and shapes in a given two-dimensional or three-dimensional space. In physics, a vector is a representation of both a quantity and a direction at the same time. In vector graphics, the file that results from a graphic artist's work is created and saved as a sequence of vector statements. For example, instead of containing a bit in the file for each bit of a line drawing, a vector graphic file describes a series of points to be connected. At some point, a vector image is converted into a raster graphics image, which maps bits directly to a display space (and is sometimes called a bitmap). A vector file is sometimes called a geometric file. Animation images are also usually created as vector files. Contributor(s): Patrick O'Malley This was last updated in February 2006 Email Alerts By submitting you agree to receive email from TechTarget and its partners.
De explanimation: 3 effectieve toepassingen van animatievideo's - Frankwatching Met animatie een nieuw product lanceren, je visie en merkwaarden communiceren of het veranderingsproces van je organisatie uiteenzetten. Voor organisaties is de inzet van animatievideo’s steeds aantrekkelijker geworden, zeker nu de productiekosten dalen en de expertise van motion designers toeneemt. Maar in welke situatie is animatie het juiste middel om jouw verhaal mee te vertellen? Waar zit precies de kracht van animatievideo's? Het draait allemaal om een goed verhaal Onze hersenen zijn veel beter in staat om losse feiten te verwerken als we deze in een samenhangend geheel krijgen aangeboden. Een pakkend verhaal neemt je mee op reis, via de gedachtegang van de verteller naar het uiteindelijke doel dat hij of zij wil bereiken. “Animatie kan alles uitleggen wat het brein maar kan bedenken” – Walt Disney In iedere organisatie zit zo’n goed verhaal, dat het verdient om verteld te worden. Hoewel wij dagelijks communiceren in tekst, staat beeld van nature heel dicht bij de mens. Meer weten?
How to Create Phonemes (Lip-Synching) Animations Video Animating speech can be tough, so get some handy tips on creating lip-sync animations with phonemes in this how-to video from About.com.See Transcript Hi, I'm Mark Zamora, animation expert, here for About.com. In this screencast, I'll show you how to create lip-sync animations. Animate a Mouth Talking Using "Phonemes" Animating speech can be tough, because you have to match the mouth movement of your animation to the audio track. What do "Phonemes" Look Like in Animation? Starting off with vowels like A and I, the lips are pulled wide, the mouth and teeth are closed a bit, and the corners of the mouth are up a little. Animating the U is completely different since the lips are pursed together, almost like a kissing motion. Animating the L is about the same, except that the tongue presses against the teeth as well. If you're looking into starting animation, making yourself a reference sheet of these phonemes can be a great tool to have!
Advanced Animation 3106 Project #3, The Talking Head. In this project you will draw a character's face and have it recite a Haiku. You may write your own Haiku or use one that is copyright free (samples here and here). If you don't want to do a Haiku, you may tell a joke or a story, but you MUST have a minimum of 20 syllables in your speech AND it must be a complete thought with a beginning, middle and end. The character does not have to be human, but it must have a visible, humanoid mouth. No mustaches or hockey masks! The name of the project is talk. Phrasing... don't try to eeee-nun-ceee-ate and change the mouth for every letter in every word, think of words a groups of sounds. No---> (memory)...don't do mem-oh-rhee Yes--> do mem-ree Change the mouth shape at the first letter or sound of the word/phrase and only change again when a sound is important or "pops".
Lip Sync Animation Although much in animation can be communicated entirely via action - such as the pantomime-based performances of Charlie Chaplin's tramp character of silent picture fame, and Mr Bean, for example - there are times when dialogue is the most efficient means of expressing the desires, needs and thoughts of a character in order to progress the storyline. Dialogue can be as profound as a speech that changes the lives of other characters in the plot, or as mundane as a character muttering to itself in a manner that fleshes out its personality making it more believable to the audience. Choosing the right voice is vital. Much of a character and its personality traits can be quickly established by the performance of the actor behind the drawings thereby taking a huge load off the animator. Just as the designs for any ensemble of animated characters should look distinctive, so should their voices. Dialogue is charted up in the sound column of the dope sheet. Well blow me down and shut my mouth!
Cycle Animation Human beings find aural and visual rhythms immensely satisfying. In fact we are pattern seekers and take great pleasure in notions of 'return' and the familiar. Animators have taken advantage of this human disposition. There are lots of tricks that animators constantly use to cut down the amount of work to be done. Cycles of repeating action are just one of these ways - and whenever animators find an opportunity to include a cycle in a sequence, you can bet they will seize upon it. Some of the very early cartoons were almost entirely based on cyclic actions, especially when it was discovered that animation could echo the rhythmic patterns found in music. Cycles can be cyclic in nature, that is, the artwork is used in order 1,2,3,4 followed by exact repeats of that order again 1,2,3,4 etc. Of course, walking is also a rhythmic cyclic action which can be described using a handful of drawings which can be repeated over and over again.
Pose to Pose Animation Animation techniques such as cut-outs, clay, paint-on-glass, charcoal on paper etc, make use of a method loosely described as ‘straight-ahead animation' in which the animator starts at the beginning of a sequence and works through to the end. This method is often dictated by the medium which animator is using to create images - the paint or sand, or objects being manipulated. It is a technique which can produce great moments of inspired spontaneity. But what happens if our cut-outs or clay character misses its cue? 'Key poses', ‘key drawings’ or just 'keys' are terms used to describe those critical positions of an animated character or an object which depict the extreme points in its path of motion, or accents in its expression or mood. The ‘key pose’ technique is still the most widely used method of animating. When developing key poses, its a good idea to experiment with thumb-nail sketches first to refine the poses and ideas.