著者

岡部 望 吉村 浩一

出版者

日本基礎心理学会

雑誌

基礎心理学研究 (ISSN:02877651)

巻号頁・発行日

vol.26, no.1, pp.83-88, 2007-09-30 (Released:2016-12-01)

被引用文献数

1

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For decades, the first author has engaged in making commercial films including animations and has obtained several rules of thumb concerning how to animate the characters smoothly and effectively. In Section One, it is pointed out that CRT and liquid crystal screens may produce different appearance for same source images. In Section Two, the function of animation's Obake, an ambiguous figure briefly inserted between two postures of an animation character, is examined. Japanese animations, especially TV anime, often contain one and two koma shoots. The rule and the reason for the proper use of the combination are introduced in Section Three. In Section Four, the problem of strobing, jerkiness in what should be a smooth movement of an image on a display, is pointed out. In Section Five, the authors emphasize the importance of taking the nature of audiences' minds into account when making animations. In Section Six, it is pointed out that the precise lip-synchronization would be unnecessary for the effective appearance in Japanese animations.

著者

岡部 望 吉村 浩一

出版者

日本基礎心理学会

雑誌

基礎心理学研究 (ISSN:02877651)

巻号頁・発行日

vol.26, no.1, pp.83-88, 2007

---

For decades, the first author has engaged in making commercial films including animations and has obtained several rules of thumb concerning how to animate the characters smoothly and effectively. In Section One, it is pointed out that CRT and liquid crystal screens may produce different appearance for same source images. In Section Two, the function of animation's Obake, an ambiguous figure briefly inserted between two postures of an animation character, is examined. Japanese animations, especially TV anime, often contain one and two koma shoots. The rule and the reason for the proper use of the combination are introduced in Section Three. In Section Four, the problem of strobing, jerkiness in what should be a smooth movement of an image on a display, is pointed out. In Section Five, the authors emphasize the importance of taking the nature of audiences' minds into account when making animations. In Section Six, it is pointed out that the precise lip-synchronization would be unnecessary for the effective appearance in Japanese animations.