By Peter Chen, David Miller, Paul Van Eyk, William E. Weinman, Nicola Brown
This ebook is an academic designed to stroll the developer via varied options for developing internet animation. each one part covers a strategy that may be used to reinforce any internet site.
-- contains step by step examples of animation innovations that require very little programming
-- each one bankruptcy is written by way of an chief in animation technology
-- CD-ROM comprises GIF89A conversion software program, Server-Push scripts in Perl and C++, Client-Pull HTML samples, Afterburner for Director, and 10 pattern animation's
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Extra resources for Designing Web Animation
This section provides some general hints on processing graphic files. These hints include using an image processing program, creating frames of larger dimensions than you will later need, reducing your color depth, optimizing your palette, and marking your original dimensions and registration points. Having a macro utility or batch file capability can be tremendously helpful when processing animation files. You’ll often generate sequences of separate graphic files that you will need to resize, crop, or otherwise change globally in some way.
Transitions between one motion state and another are hard to lay out smoothly. Fortunately, this is one area where computers can help out. Most computer animation programs enable you to control the deceleration and acceleration of objects (ease-in, ease-out) by a specified amount over a certain range of frames. For example, you can take an object from zero to top speed in 60 frames for a gradual acceleration, or in 5 frames for a fast acceleration. The computer makes sure the animation looks smooth.
Often, you really won’t see the action taking place. What you see is the anticipation, the set-up, the start of the action, and then the reaction. ” To illustrate a “fake” in the preceding flowerpot example, you might animate a stretched, motion-blurred flowerpot falling toward the cat’s head. The next frame might be the cat’s head squashing under the weight and pieces of the flowerpot falling off its forehead. The actual contact between the two objects is never drawn. This sort of faking can be used in other situations.