Motion graphics

About: Motion graphics is a research topic. Over the lifetime, 208 publications have been published within this topic receiving 1813 citations.

Software Takes Command

Abstract: Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field.What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.

Computer animation with scripts and actors

Abstract: A technique and philosophy for controlling computer animation is discussed. Using the Actor/Scriptor Animation System (ASAS) a sequence is described by the animator as a formal written SCRIPT, which is in fact a program in an animation/graphic language. Getting the desired animation is then equivalent to “debugging” the script. Typical images manipulated with ASAS are synthetic, 3D perspective, color, shaded images. However, the animation control techniques are independent of the underlying software and hardware of the display system, so apply to other types (still, B&W, 2D, line drawing ...). Dynamic (and static) graphics are based on a set of geometric object data types and a set of geometric operators on these types. Both sets are extensible. The operators are applied to the objects under the control of modular animated program structures. These structures (called actors) allow parallelism, independence, and optionally, synchronization, so that they can render the full range of the time sequencing of events. Actors are the embodiment of imaginary players in a simulated movie. A type of animated number can be used to drive geometric expressions (nested geometrical operators) with dynamic parameters to produce animated objects. Ideas from programming styles used in current Artificial Intelligence research inspired the design of ASAS, which is in fact an extension to the Lisp programming environment. ASAS was developed in an academic research environment and made the transition to the “real world” of commercial motion graphics production.

Understanding Data Videos: Looking at Narrative Visualization through the Cinematography Lens

Abstract: Data videos, motion graphics that incorporate visualizations about facts, are increasingly gaining popularity as a means of telling stories with data. However, very little is systematically recorded about (a) what elements are featured in data videos and (b) the processes used to create them. In this article, we provide initial insights to build this knowledge. We first report on a qualitative analysis of 50 professionally designed data videos, extracting and exposing their most salient constituents. Second, we report on a series of workshops with experienced storytellers from cinematography, graphics design and screenplay writing. We provided them with a set of data facts and visualizations and observed them create storyboards for data videos. From these exploratory studies, we derive broader implications for the design of an authoring tool to enable a wide audience to create data videos. Our findings highlight the importance of providing a flexible tool supporting a non-linear creation process and allowing users to iteratively go back to different phases of the process.

Authoring Data-Driven Videos with DataClips

Abstract: Data videos, or short data-driven motion graphics, are an increasingly popular medium for storytelling. However, creating data videos is difficult as it involves pulling together a unique combination of skills. We introduce DataClips, an authoring tool aimed at lowering the barriers to crafting data videos. DataClips allows non-experts to assemble data-driven “clips” together to form longer sequences. We constructed the library of data clips by analyzing the composition of over 70 data videos produced by reputable sources such as The New York Times and The Guardian. We demonstrate that DataClips can reproduce over 90% of our data videos corpus. We also report on a qualitative study comparing the authoring process and outcome achieved by (1) non-experts using DataClips, and (2) experts using Adobe Illustrator and After Effects to create data-driven clips. Results indicated that non-experts are able to learn and use DataClips with a short training period. In the span of one hour, they were able to produce more videos than experts using a professional editing tool, and their clips were rated similarly by an independent audience.

Analyzing high-dimensional data with motion graphics

Abstract: Some new methods for analyzing high-dimensional data, based on real-time graphics, are described. Three-dimensional point cloud rotations provide the canonical example of the applications of motion graphics to data analysis. Similarly, motion may be used to good effect to explore data of arbitrarily high dimension. This will be demonstrated by describing how a data analyst guides a projection plane as it moves through high-dimensional data space.