Motion Graphics Quotes

Aristotle (384–322 BC), the Greek philosopher, held that time is simply the measure of motion. Time is the measure of one physical process against another.

Tracy’s dad was setting in motion the forces that would give rise to essentially all of modern computing: time-sharing, personal computing, the mouse, graphical user interfaces, the explosion of creativity at Xerox PARC, the Internet—all of it.

Moore’s Law, the rule of thumb in the technology industry, tells us that processor chips—the small circuit boards that form the backbone of every computing device—double in speed every eighteen months. That means a computer in 2025 will be sixty-four times faster than it is in 2013. Another predictive law, this one of photonics (regarding the transmission of information), tells us that the amount of data coming out of fiber-optic cables, the fastest form of connectivity, doubles roughly every nine months. Even if these laws have natural limits, the promise of exponential growth unleashes possibilities in graphics and virtual reality that will make the online experience as real as real life, or perhaps even better. Imagine having the holodeck from the world of Star Trek, which was a fully immersive virtual-reality environment for those aboard a ship, but this one is able to both project a beach landscape and re-create a famous Elvis Presley performance in front of your eyes. Indeed, the next moments in our technological evolution promise to turn a host of popular science-fiction concepts into science facts: driverless cars, thought-controlled robotic motion, artificial intelligence (AI) and fully integrated augmented reality, which promises a visual overlay of digital information onto our physical environment. Such developments will join with and enhance elements of our natural world. This is our future, and these remarkable things are already beginning to take shape. That is what makes working in the technology industry so exciting today. It’s not just because we have a chance to invent and build amazing new devices or because of the scale of technological and intellectual challenges we will try to conquer; it’s because of what these developments will mean for the world.

When starting out in this field it’s extremely important to remember that, even though you may be an incredibly talented digital artist, part of working in production is the ability to work as a part of a team. No matter how good your reel of previous work is, supervisors and management want to feel comfortable that you are capable of being responsible, efficient and, quite honestly, reasonably pleasant to deal with. Production can be difficult and stressful—nobody wants to deal with personality issues on top of all that.

Alpas Box is an animated video production company that make Short animated explainer videos, motion graphics and white board animations which presents businesses to explain their products or services in a creative and effective form of visuals. We help the brands to reach the desirable level by making separate strangers into loyal buyers for our Clients. Our team of artists always try to take it ahead. Professional voiceover group is one of our great advantages.

game. A Kentucky entrepreneur hooked up a version of Wolfenstein to virtual reality goggles and brought in five hundred dollars a day at the Kentucky State Fair. But players didn’t need virtual reality goggles to feel immersed. In fact, the sense of immersion was so real that many began complaining of motion sickness. Calls were coming in even at the Apogee office saying that people were throwing up while playing the game. Wolfenstein vomit stories became items of fascination online. Theories abounded. Some players thought the game’s animation was so smooth that it tricked the brain into thinking it was moving in a real space. Other gamers thought it had something to do with the “jerkiness” of the graphics, which induced the feeling of seasickness. Some felt it was simply disorienting because there was no acceleration involved; it was like going from zero to sixty at light speed. Gamers even exchanged tips for how to play without losing one’s Doritos.

The lowest common denominator of brand identity is something I call the ‘Generic Meaningless Swoosh Thing,’” says Amanda Collier, a graphic design veteran. According to Collier, “The GMST is what happens when any corporation tries to develop a new look. The managers will talk about wanting something that shows their company is ‘forward thinking’ and ‘in motion,’ and no fewer than three of them will reference Nike, inventors of the original Swoosh. The creative types smile, nod, secretly stab themselves with their X-Acto knives.

The simplest explanation for motion graphics is an animation that incorporates text. A motion graphics animated video offers a brilliant way for brands to communicate with their viewers and add depth to their stories. They’re perceived as far more attractive than simple ads or text formats and require half the time and money needed for complex animations. For example, motion graphic animations are great for displaying products to customers in a fun, entertaining, and engaging way that may potentially increase sales. Hire a motion graphic artist or designer from Cloud Animations to deliver your brand message. The motion graphic design can be displayed interchangeably amongst a variety of formats and may also be shared on social media and other digital mediums to extend the reach of the content further.

A stronger analogy to Eisenstein's analysis of the rising pattern in the music and the visuals can be found in the contrapuntal practice in music whereby a theme is juxtaposed against either an augmented (the note values are doubled) or diminished (the note values are halved) version of itself. The listener can thus simultaneously experience two different temporal elaborations of the same melodic line across a single block of chronological time, just as the viewer/listener in Alexander Nevsky can experience two different temporal elaborations of the rising motion across a single block of chronological time. (Needless to say, an oppositional "counterpoint" could also be set up by creating, for instance, an upward movement in the music and a downward one in the visuals.) But the experience here is doubly enriched, since the simultaneity also includes two different modes of perception, visual and aural, which is, one suspects, one of the underlying raisons d'être of the gesamtkunstwerk. Even on the simplest of levels, then, Eisenstein's "vertical montage" involves the simultaneous, layered presentation of a number of different elements. For the first shot, these layers would stack up as follows: 1. Graphic perception (photography) 2. Musical perception (score) 3. Upward movement 1 (graphic) 4. Upward movement 2 (musical) 5. Synchronicity 1 (graphic) 6. Synchronicity 2 (musical)

Chaos has become not just theory but also method, not just a canon of beliefs but also a way of doing science. Chaos has created its own technique of using computers, a technique that does not require the vast speed of Crays and Cybers but instead favors modest terminals that allow flexible interaction. To chaos researchers, mathematics has become an experimental science, with the computer replacing laboratories full of test tubes and microscopes. Graphic images are the key. “It’s masochism for a mathematician to do without pictures,” one chaos specialist would say. “How can they see the relationship between that motion and this? How can they develop intuition?

Anther promising gesture innovator is Leap Motion, which makes a cute little activating touchpad that enables you to do all sorts of things by gesture on your desktop computer, including art, graphics, games, handwriting, drawing, map navigation, photo blowups and more.

Only one facet of the atomic bomb was still missing: Criticality. “Criticality” is a term used to describe the ideal conditions for a chain reaction. A row of dominoes is “critical: if each domino that falls knocks over one other. Fermi assembled a “critical mass” of uranium in his reactor, and he achieved a linear chain reaction. Each atom that fissioned caused one other atom to fission. Theoretically, that sort of reaction can go on forever (given infinite atoms), but it’s not getting any bigger. A bomb, however, requires something more explosive: a chain reaction that grows exponentially. A bomb requires a super critical mass. Imagine an area the size of an empty basketball court and a pile of dominoes. To make a super critical mass, line up the dominoes so that each one that falls will knock over two more dominoes. And each one of those knocks two more over, and so on… This is essentially what happens inside the core of an atomic bomb. The reactive material — uranium or plutonium — is packed together so tightly that when one atom fissions the released neutrons can’t help but hit two more atoms, causing them to fission as well. In other words, once a super-critical mass is assembled, an exponential chain reaction is practically inevitable. Variations on this kind of super-critical mass happen often in nature. Avalanches. Epidemics. But it’s a lot harder for humans to re-create these sorts of complex systems. A super-critical reaction requires an astounding amount of work and organization just to get all the necessary pieces arranged in the right order. All this work, whether it’s lining up dominoes or enriching uranium, builds toward one single moment: the moment when what was once impossible becomes unavoidable. In that moment the logic of the chain reaction takes over. The fire will only stop when there is nothing left to burn. The Trinity test was that moment. Once construction had finished on the factories, the laboratories, and the test sites… once the nation’s brightest minds had demonstrated the potential power of nuclear fission… and, finally, once the military had organized these many parts into a coherent plan to test a bomb… a chain reaction was about to be set in motion, making certain outcomes inevitable. With all that momentum, if a bomb could indeed be built, was there any justification to not build it? And once a workable bomb was built, was there really any chance that it wouldn’t be used?