Sunny's Blog

Brenda Boyer

Brenda Boyer

Brenda Boyer

There seems to be many misconceptions about forensic animations and their general use in litigation. Many times, lawyers and accident reconstruction will say that "A movie can show what the moderator wants" or "animations are difficult to admit in a court of justice." However, a forensic animator, c ' is like saying that your accountant can "fix your books." In reality, it is far from the truth.

Misconception # 1 - "A movie can show what the moderator wants"
Perhaps the fact that much of what we see on television and in movies is modified with realistic special effects that we tend to associate anything with 3D visualization with more than a hint of skepticism. Ironically, much of the same software used to animate films such as "Spiderman" or "The Lord of the Rings" is also less known to be used in scientific visualization, research and entertainment law. People can associate the fact that the host has been special effects can create surreal, but realistic effects research. Therefore, it should not be accurate.

The biggest difference between a forensic animation and any other type of animation is the "forensic" part. This implies that there is a big effort to understand the details of what is being animated, and that great emphasis is ensuring a high level of accuracy. A facilitator may spend over 70% of his time to activities related to verification of data and accuracy in the animation.

An experienced facilitator and skilled legal would you say that a great effort goes into the construction and verification of each step of animation to the correct dimensions and precise. In fact, very little is left to the imagination, as most reconstructions are based on accurate data usually provided by the expert witness. A simple example is the data field of a particular scene. This can be achieved using a total station with the positions of important elements such as signs, lights, shapes or scrap tires on the pavement.

Even the animation and movement of objects in a 3D re-creation is generally based on information or data provided by the expert witness. These data are often obtained by careful calculation or by using simulation software. In the case of simulation software, data can be converted directly or imported directly into the 3D animation software, leaving little room for error.
There may be cases where the host is provided forensic information from ideal, but even in these rare cases, an experienced facilitator will be enough legal knowledge to ensure that the basic rules of geometry and physics (ie motion) are applied and respected.

Myth No. 2 - "The animations are difficult to admit in a court of justice"
Somewhere along the way, there were movies that were so poorly constructed or wrong, we simply could not have been entitled to court. It would appear that these cases tend to stick in the minds of litigators and cause reluctance for future use of what is a perfectly acceptable and effective use of technology.

Normally it is a facilitator or a lawyer with no experience who does not follow some basic rules of demonstrative evidence.
Some key points to consider when examining forensic animation are:

1. The animation needs to support the expert's testimony and should be considered an extension of the witness report. The expert witness must be directly involved in the authentication and review of the movie.

2. Disclose the movie well in advance of the trial date. Evidence must be disclosed in a timely manner and that the adversary needs time to cons-examine evidence.

3. The animation of fairly and accurately transmit the data or materials that it seeks to convey or represent. The animation must not be harmful in that it outweighs the probative value.

4. The animation must be relevant.

5. The facilitator forensic should be prepared to testify that the works are created based on technology, and sound processing algorithms such as the latest works reflect the opinion of the expert witness.

There are, of course, many other considerations that may be dependent case. Other materials and references are available for review, including a document entitled "The admissibility of physical evidence for jury:" Written by Barbara Legate Legate and Associates and available on forums AI2 (www.ai2- 3d.com/Forums).

Today, most legal activities are allowed in court because there are more considerations and bases taken into account to ensure the accuracy, validity and quality entertainment. By choosing a facilitator experienced forensic and respecting the rules of demonstrative proof, to dismiss the risks are greatly reduced.

Myth # 3 - "Animation and simulation are the same"
There are two distinct ways to develop an animation and, although the final result may try to do the same thing, they are fundamentally different in the ways they are created.

A simulation is usually the result of a program operated by a qualified accident reconstructionist. The program has a set of key behaviors (ie, mathematical equations) that define the movement of objects in a set of known parameters. It was at the accident reconstruction to define all the input variables and make sure they are accurate. Once this is complete, the program is started to calculate all the positions of objects through time.

The simulation software can also output the motion of objects as data exportable tabularized and / or animation. However, most manufacturers of software-based simulation programs have not been able to achieve the same level of realism that most animators are able to do with the 3D visualization software. There may be a number of reasons for this deal which further complicates the already complex software or perhaps the time spent on development is in the mathematics behind the simulation software and not primarily in the visualization or presentation of data.

Another important issue that is common with software simulation is the validity of the data available. The old saying "garbage in, garbage out 'applies. Since a simulation is generally used as substantive evidence, it can be difficult to prove something is true without having solid evidence to support the animation in place.

Animation
- Exhibit shows how something works or how something happened on the basis of expert evidence or an eyewitness. The facilitator, not the software is responsible for accurately moving and positioning objects in time.
Do not try to prove anything, but merely facilitates the account or the testimony of a witness.

Simulation
Substantive evidence - Supports real dynamics and physics into account. The objects are not animated by the "hand", but a software-based input or calculated data.
Trying to prove that something could happen in a certain way.
Visually, the animation is eye catching and realistic.
The simulations are improving their presentation, but still lack realism.

On the other hand, a movie can be based on testimony of eyewitnesses, the calculations of accident reconstruction or data output by software simulation. All the events of a movie in a typical 3D visualization software and configuration are calculated by the moderator. Animations are almost always presented as physical evidence, and they do not try to "prove" anything. They are simply another form of expression of opinion of the expert witness and are always presented as physical evidence.

Myth # 4 - "We need it yesterday".
There have been many advances in technology that the legal use of facilitators who has improved the speed and efficiency of their work. Computer processing speeds have increased exponentially and the progress of the software allowed the animators to do things that simply were not possible a few years ago. There are even tools available to leaders to enable them to write custom scripts for repetitive tasks and specialized functions.
These advances in speed and capacity would think that the time to complete an animation should also have been greatly reduced, but this is not the case.

Part of the reason is simply the nature of the animation process. Much work needs to go in understanding the case, reading the reports, taking measurements and verification of accuracy. This part may take only a major part of man-hours to create the animation.
In addition, the creation of 3D models ("scene assets) necessary to complete the animation is still a long process. There are advantages when a "library" of standard models is used (ie stop signs, lampposts, traffic signs), however, since each case is different and specific details should be reflected in the animation (such as the topography of the scene or specific damage to the vehicle), time must be spent to customize or create models from scratch.

The technology has actually allowed many more options for viewing the field indicates that more work is accomplished in a similar period of time. If one were to compare time to produce an animation that was done 15 years ago with the same animation today, there would be a significant reduction in the time to complete. However, the overall quality of the presentation would certainly not be as attractive to the eye.
Because of media like television and movies and video games, people are accustomed to a higher level of realism. The same animation that was used 15 years ago in a court of law, may not be as attractive and credible to an audience today.

It is important to allow as much time as possible to obtain high-quality animation and to allow time for opponents to cons-examine the animation. On average, a typical animation of a host of renowned forensic demands vary from weeks to months to complete depending on the availability of information, the number of scenarios / views requested, the level of realism and complexity animation. Unfortunately, there is still no "magic wand" to do manual work of a forensic animator.

Myth # 5 - "It is far too expensive"
Perhaps the most important piece of advice is to use a reputable and experienced legal facilitator. There are a few animation houses that specialize in advertising or graphics, such as taking the forensic work, but without a trained facilitator and experienced medico-legal, there is a higher risk that any animation can be inadmissible.
A trained facilitator will highlight all legal options available, providing sound advice and clear objectives from the outset. Setting clear objectives is probably one of the most neglected. Without knowing the expectations, goals of the animation are often missed or not well communicated due to last minute changes and modifications that further increase the cost.

It is important that lawyers and accident reconstruction to understand the process of animation and the quantity of hours of work are usually invested. Most facilitators or legal fee estimate based on an hourly rate, but there are some who still prefer to include the case / project.

The general rule is that the level of realism, complexity, number of scenarios and increased camera views, then the cost is. It is therefore important to understand what is required of a facilitator. For example, changing a camera view a little less impact on cost than does adding different animation scenarios with objects in different locations.

By taking a second look at the animations and forensic misconceptions, it is clear that there must be some understanding of the animation process by the client. Have an open discussion in front and on the objectives of the animation is imperative to have a positive impact on the case.

Drawing on the experience of a professional forensic can explain the options available to a client and can discuss their costs eliminates the risk of falling short of targets and provides entertainment shall be admissible in court.

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Brenda Boyer

For those of us growing up watching Tomorrow’s World, we thought by 2010 we’d have robot butlers and other such gadgets doing our own private bidding. Alas, technological advancements haven’t been as rapid as we’d hoped and to be honest, we’re impressed by robots doing pretty much anything these days.

So then, how impressed would we be if someone showed us a robot that could dance or fight according to our controls. Well now not only can you see it, you can own the robot doing the dancing; admittedly it’s a little expensive at Â£450, but you can always put it on your gifts list!

The new MechRC (radio controlled) robot is the most easy to program and easy to use piece of robotics you’re likely to see. With 100+ preinstalled motions and sounds you can have the little beast displaying his dance moves within an hour of taking him out of the box.

Actually programming movement into the bot is simple too. The Mech RC can be programmed using software that comes in the box; the software lets you drag the robot into the position you want, then program motion using a filmstrip type animation. It’s extremely easy to then add sound effects and music to accompany the robots’ movements, which will be played through the speaker in the middle of the MechRC’s chest.

The MechRC comes already built when you buy it, which allows you to just get on with the job of programming it and having some fun. It also comes with an IR remote control should you want him to break into a spontaneous dance or fight routine.

For what are pretty much toys, these robots are quite pricey, but they’re great fun and will no doubt keep you engaged for hours on end! The movement of the robot is extremely natural and it’s capable of completing some impressive physical manouvers. You never know, if technology carries on in this direction, we might end up with those robot butlers after all.

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Brenda Boyer

It’s clear that the author derives the majority of his references from Europe’s history of Animation, which might explain why many people have not heard of the animators he talks about. But considering that these artists did take part in the history behind animation, it is good that Bendazzi made the effort to bring their names to light. He makes some remarks and does look at other countries, such as America’s infamous Walt Disney and Japan’s rising anime films, but for the most part, he concentrates on the growth within Europe’s artistic groups.

This book is less about the big names in cinematic animation and more about the independent artists and studios who worked in animation during a time when the animator’s names and the dates their works were created weren’t exactly recorded and copyrighted properly. Many of the animators here can also be identified as fine artists, often working experimentally within the media. This is how animation as cinema started (way before the time of Walt Disney and his overshadowing fame) and is continuing to be produced on the other side of Hollywood.

This book definitely has a text-book feel, but as far as a text book goes, it’s not too terribly dry. It’s informative and gives a very in-depth look at animation, from its beginning as optical illusions to the cinematic phenomena it has become today.

Also, as a final personal comment, this book is like a documentation of the independent films (as well as mainstream films) of the animation industry. Most people will not have seen them (unless they have access to an animation/video library), but that doesn’t mean the films aren’t important to history.

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Brenda Boyer

Photos are from all the lighting test shots and painting on walls for installation.

Yesterday in the afternoon I went with Jiajia and ate at NJC for lunch. It was really good, some chicken karaage rice that was really delicious. The security guard was really cute, he asked me to act damn paiseh when he questioned me about my student status in front of his anal boss, so I just play-acted along and got in our grey neighbour safely. Anyway I went to look at their Courseworks and their AEP is pretty slow from what I saw. ):

There was some girl I talked to, she said that all she wants is to get an A for coursework. And suddenly I start wondering why the hell I put in so much effort for AEP for, because I know for a (sad?) fact I am not going for this to get an A on my A Levels. Sounds like a noble cause but I just feel far from noble, just feels pretty confusing not knowing why I bother. Maybe I’m doing this to kill time and make myself happy. Great reason for dissatisfaction.

The sad thing is that I think I’m beginning to feel sick of my coursework again. Maybe it’s because I really look at everything way too often, but all I see are the pages which I am too lazy to do till I am satisfied. And then I’ll get annoyed at how bland it all seems. I wish it wasn’t coursework so I can just relax over this and… look at it less and thus be more inspired by myself. I keep moving on so fast I hate everything that’s remotely dated.

In the afternoon I just decided to fuck it and go fuck up my walls anyway. Wanted to just layer the white as texture but then I kind of went insane with the paint. I think the final lighting will be something like that, with just bulbs, plain and simple. Wondering whether to use my friend’s suggestion to make the viewer hold the bulb. It was really cool, like an illuminating magnifying glass or something. I got damn dirty painting and making texture and flinging paint.

So at night my father helped me buy an IKEA table and bring it over. Okay so I lugged it to the gallery, and started screwing a stupid drawer together. Before I was done with one drawer I already made two mistakes. And Bryan was next to me trying to paint the Rorschach test design onto the wall. So I said to him, “hey Bryan, can you help me make my table and I help you paint?” and to my surprise he was damn happy and said making the table is fun. Fun!?

I think I might still be making my table right now and he will still be painting that Batman logo. The funny thing is that I realised our courseworks kind of have things in common, the entire split into two, and the format of being a book. Haha, and Bryan is going to become an IKEA deliveryman when he grows up. We saw Weirong’s coursework also, but the bed doesn’t look like a bed. And the music pervades the gallery.

It was quite interesting because usually I don’t say more than 2 words to some classmates even after 2 years in the same school or class. But it was quite fun painting the white ink blot on the wall because compared to white acrylic paint, emulsion paint is a fucking godsend. It’s damn opaque. Should have used it in my books. Then later on Jasmine also came and she helped me paint, since Bryan finished the table first and went off to “sleep”.

When guys say they want to sleep, chances are they will still spend half a day wandering around and eating Mee Goreng until the fucking pantry is crawling with ants. Damn disgusting. Today I went to clean up the Media Studio because the place is where the guys sleep and live these days and it is more disgusting than the house in ANTM. And the male toilet where we shower is seriously smelly. I have a lot to complain about.

Then Jasmine helped me with my installation walls. Splashed a lot of colour, what we did was lay a lot of newspapers and then mix paint with water, then I just grab and throw the diluted paint. It’s insanely fun and I feel like vandalising all the walls with it. Maybe I should do the same at home one day, I seriously love it that much. There was a lot of layering of texture and sudden gorgeous paint splashes like this one:

I guess the installation walls are… just an accessory that’s meant to unite the entire space and make it atmospheric. Or maybe just provide a sort of backdrop to everything. We worked all the way till morning, and I accidentally cut my hand on a tin can of paint and then washed the paint rollers. So I think I’m just going to have to die a few years earlier from lead poisoning. Haha when it was 7 I was going to edit photos but I seriously just sat and died.

I don’t remember but I managed to drag myself to RC somehow, since I woke up at 11 in my beanbag feeling like a punchbag after a workout. And then people say my walls a bit too drippy and contrived so I went and fixed the place and now I’m really satisfied with how it looks. Particularly the face, which was some experimental doodle which turned into a motif on the wall. Must seriously thank Jasmine for the gorgeous colours and effects haha.

You must all come to the gallery someday, somehow right now I like my wall more than my books. Haha. I like the feeling of being secluded in my own little space. Later at night I shall touch up my books and just let them be. And then I have to think of what to do with the drawers and the instruction sheet. And if I need anything to be on the floor of the cubicle. That’s a lot of things I think I’ll sleep only minimally again.

Unlike the previous table,this one fits, and I’m sitting with it typing away right now. I wish I can move my cubicle over, really love this space a lot after I’ve painted it. I just voiced Lingxue’s monkey in her animation, so now I am immortalised forever in the gorgeous video of a girl and her monkey. Sam just got me Hakka noodles from home, oh my god I’m so in love. Haha Really happy to be eating decent food. And an apple too. I’m so blessed.

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Brenda Boyer

Follows the prehistoric antics of a teenaged Pebbles Flintstone and her boyfriend Bamm-Bamm Rubble at Bedrock High School.The Pebbles and Bamm-Bamm Show is an animated, 1971 Hanna-Barbera spin-off of The Flintstones television series that follows Fred’s and Wilma’s daughter Pebbles (Sally Struthers) and Barney’s and Betty’s son Bamm-Bamm (Jay North) through their high-school days in Bedrock. The bubbly Pebbles is always enthusiastic and can be counted upon to convince Bamm-Bamm and their friends Wiggy, Penny, and Moonrock to join her in one crazy scheme after another, whether it’s catching a widely-feared snorkosaurus for the local Sea Rock World, testing a super fuel in the Grand Prix, safeguarding Bamm-Bamm’s dogosaurus Snoots from the clutches of the local dog catcher, training to become an artist or witch, or saving Fred’s job at the gravel pit. While Pebbles’ intentions are always good, her definite knack for misinterpreting a situation often renders her efforts a major hindrance. Pebbles’ Archie-inspired friends are more than a little unique and include astrologically obsessed Wiggy, down-to-earth Penny, and brainy Moonrock. The Bronto gang (Bronto, Noodles, Stub, and Zonk) alternates between functioning as a bothersome motorcycle gang and much needed allies while Cindy fills the role of Pebbles’ snooty rival and Schleprock is the consistent harbinger of bad luck. Comedy reigns throughout all 16 episodes–from simple word play to slapstick and satire. Four 8-minute bonus episodes from the 1972 “Flintstone Comedy Hour” round out this two-disc set.

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Sunny's Blog

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Friday, September 10, 2010

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One Hundred Years of Cinema Animation

Take a breath and feel what matters

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