animationpuppetry.com animationpuppetry.com

animationpuppetry.com

ANIMATION PUPPETRY

Responsive Controls and Expressive Shapes. All points of visual contrast on a controlled body should respond intelligently to the forces acting on the body.". A prehensile actor, and an extension of the operator’s will. To understand the relationship between the controlled object and the controller, we must gain familiarity with the basic mechanism of motion perception in the human visual processing system. A few relevant principles become apparent:. Visual attention is a finite resource in an image: onc...

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Rock●●●●Hill , Connecticut, 06067

United States

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me●●●●@gmail.com

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David Meslin

65 Tol●●●●●●e Road

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United States

(860)●●●●●-9237
me●●●●@gmail.com

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ANIMATION PUPPETRY | animationpuppetry.com Reviews
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Responsive Controls and Expressive Shapes. All points of visual contrast on a controlled body should respond intelligently to the forces acting on the body.. A prehensile actor, and an extension of the operator’s will. To understand the relationship between the controlled object and the controller, we must gain familiarity with the basic mechanism of motion perception in the human visual processing system. A few relevant principles become apparent:. Visual attention is a finite resource in an image: onc...
<META>
KEYWORDS
1 puppets or tools
2 perceptual constraints
3 traditions and beyond
4 web menu
5 by css3menu com
6 ragdoll physics
7 have
8 confirmed
9 arrow keys
10 move spacebar
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puppets or tools,perceptual constraints,traditions and beyond,web menu,by css3menu com,ragdoll physics,have,confirmed,arrow keys,move spacebar,jump,hide/show controls c,mirror horizontal y,flip vertical
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ANIMATION PUPPETRY | animationpuppetry.com Reviews

https://animationpuppetry.com

Responsive Controls and Expressive Shapes. All points of visual contrast on a controlled body should respond intelligently to the forces acting on the body.". A prehensile actor, and an extension of the operator’s will. To understand the relationship between the controlled object and the controller, we must gain familiarity with the basic mechanism of motion perception in the human visual processing system. A few relevant principles become apparent:. Visual attention is a finite resource in an image: onc...

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animationpuppetry.com animationpuppetry.com
1

Perceptual Constraints

http://www.animationpuppetry.com/perception.html

Responsive Controls and Expressive Shapes. A framerate this low is not effective for a game involving constant motion. Strobing is very prominent when animation is shown without blur, and the amount of blur required to present a feeling of fluidity is impractically high. 15fps is convenient because of its clean division into 30fps - animation can be produced at this framerate and then in-betweened without strange interpolation artifacts resulting from blended frames. Made 'at' the UCLA Animation Workshop.

2

Traditions and Beyond

http://www.animationpuppetry.com/traditions.html

Responsive Controls and Expressive Shapes. Third-Person, Side-View Characters: A Historical Overview. Marshall McLuhan thought of games as the microcosmic expression of a culture's latent desires. What can we glean from the thirty years' work and billions of dollars of revenue(so far) generated by the gaming convention known as the "platform game"? Rudolf Arnheim called it "The Egyptian Method" of making pictures. So, in children's drawings and in side-view platform games, a common visual structure emerg...

3

Pictures of Puppets

http://www.animationpuppetry.com/puppets.html

Responsive Controls and Expressive Shapes. Pictures of Puppets 'on top' of Mathematical Tools. What about a game like tetris, where a piece is the ‘tool’ until it ‘settles’ (a bit after it touches the ground)? Afterward, something which implies animacy/magic on the part of the game world may or may not happen, and the next piece becomes the tool. Why is this seemingly sophisticated situation so intuitive for players to grasp? Game characters are tools that can become. The thrill of playing ‘as’ a well-de...

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Responsive Controls and Expressive Shapes. All points of visual contrast on a controlled body should respond intelligently to the forces acting on the body.". A prehensile actor, and an extension of the operator’s will. To understand the relationship between the controlled object and the controller, we must gain familiarity with the basic mechanism of motion perception in the human visual processing system. A few relevant principles become apparent:. Visual attention is a finite resource in an image: onc...

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