D-Scope:挖掘缺口

C. MacGillivray
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引用次数: 0

摘要

2011年,通过将动画和动力学的实际研究与数字投影映射技术相结合,两名学生发现了一种在不使用相机、胶片或屏幕的情况下创造表观运动的方法。D-Scope技术最初被命名为Diasynchronoscope,以表彰电影前奇观设备的丰富祖先,该技术涉及将真实物体定位在黑暗的声学空间中,并精确顺序地照亮它们;实际上是通过注意力来制作动画。经过几年的改进,D-Scope沉浸式系统现在在英国注册了商标。它是一种创新的媒介,仍处于起步阶段,它从动画、电影和格式塔分组原则中汲取灵感,创造出从屏幕中解放出来的动画。本文认为,该技术揭示了一些关于表观运动的新观点,当它在环境尺度上被体验和感知时,而不是被屏幕所限制。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The D-Scope: Mining the Gap
In 2011, through combining practical research into animation and kinetics with digital projection mapping techniques, two students discovered a way of creating apparent motion without using a camera, film stock or a screen. Originally christened the Diasynchronoscope, in acknowledgement of the rich ancestry of pre-cinematic devices of wonder, the D-Scope technique involves positioning real objects in a blacked-out acoustic space and illuminating them precisely and sequentially; in effect animating through attention. After some years of refinement, the D-Scope immersive system now carries a registered trademark in the UK. It is an innovative medium, still in its infancy that draws on tropes from animation, film and Gestalt grouping principles to create animation freed from the screen. This paper argues that the technique reveals some new ideas about Apparent Motion when it is experienced and perceived on an environmental scale and not framed by a screen.
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