Motion UI or Motion graphics\u00c2\u00a0are pieces of\u00c2\u00a0animation\u00c2\u00a0or digital\u00c2\u00a0footage\u00c2\u00a0which create the\u00c2\u00a0illusion\u00c2\u00a0of\u00c2\u00a0motion\u00c2\u00a0or rotation, and are usually combined with\u00c2\u00a0audio\u00c2\u00a0for use in\u00c2\u00a0multimedia\u00c2\u00a0projects. Motion graphics are usually displayed via\u00c2\u00a0electronic media\u00c2\u00a0technology, but may also be displayed via manual powered technology (e.g.\u00c2\u00a0thaumatrope,\u00c2\u00a0phenakistoscope,\u00c2\u00a0 stroboscope,\u00c2\u00a0zoetrope,\u00c2\u00a0praxinoscope,\u00c2\u00a0flip book). The term distinguishes still graphics from those with a transforming appearance over time, without over-specifying the form.\u00c2\u00a0While any form of experimental or abstract animation can be called motion graphics, the term typically more explicitly refers to the commercial application of animation and effects to video, film, TV, and interactive applications.<\/p>\n
Motion graphics\u00c2\u00a0extend beyond the most commonly used methods of frame-by-frame footage and animation. Motion graphics can be distinguished from typical animation in that they are not strictly character driven or story based and often represent animated abstract shapes and forms such as logos or logo elements.<\/p>\n
Before computers were widely available, motion graphics were costly and time-consuming, limiting their use to high-budget\u00c2\u00a0filmmaking\u00c2\u00a0and\u00c2\u00a0television production. Computers began to be used as early as the late 1960s as super computers were capable of rendering crude graphics. John Whitney and\u00c2\u00a0Charles Csuri\u00c2\u00a0can be considered early pioneers of computer aided animation.<\/p>\n
In the late 1980s to mid-1990s, expensive proprietary graphics systems such as those from British-based\u00c2\u00a0Quantel\u00c2\u00a0were quite commonplace in many\u00c2\u00a0television stations. Quantel workstations such as the Hal, Henry, Harry, Mirage, and Paintbox were the broadcast graphics standard of the time. Many other real-time graphics systems were used such as Ampex ADO, Abekas and K-Scope for live\u00c2\u00a0Digital video effects. Early proprietary 3D computer systems were also developed specifically for broadcast design such as the Bosch FGS-4000 which was used in the music video for\u00c2\u00a0Dire Straits’\u00c2\u00a0Money for Nothing. The advent of more powerful desktop computers running Photoshop in the mid-90s drastically lowered the costs for producing digital graphics. With the reduced cost of producing motion graphics on a computer, the discipline has seen more widespread use. With the availability of desktop programs such as Adobe\u00c2\u00a0After Effects,\u00c2\u00a0Discreet Combustion, and\u00c2\u00a0Apple Motion, motion graphics have become increasingly accessible. Modern\u00c2\u00a0character generators\u00c2\u00a0(CG) from Aston Broadcast Systems and\u00c2\u00a0Chyron Corporation’s incorporate motion graphics.<\/p>\n
The term “motion graphics” was popularized by Trish and Chris Meyer’s book about the use of Adobe\u00c2\u00a0After Effects, titled\u00c2\u00a0Creating Motion Graphics. This was the beginning of desktop applications which specialized in video production but were not editing or 3D programs. These new programs collected together\u00c2\u00a0special effects,\u00c2\u00a0compositing, and color correction toolsets, and primarily came between edit and 3D in the production process. This “in-between” notion of motion graphics and the resulting style of animation is why sometimes it is referred to as\u00c2\u00a02.5D.<\/p>\n
Motion graphics continue to evolve as an art form with the incorporation of sweeping camera paths and 3D elements. Maxon’s\u00c2\u00a0CINEMA 4D, plugins such as\u00c2\u00a0MoGraph\u00c2\u00a0and Adobe\u00c2\u00a0After Effects. Despite their relative complexity,\u00c2\u00a0Autodesk’s\u00c2\u00a0Maya\u00c2\u00a0and\u00c2\u00a03D Studio Max\u00c2\u00a0are widely used for the animation and design of motion graphics, as is\u00c2\u00a0Maya\u00c2\u00a0and 3D Studio which uses a node-based\u00c2\u00a0particle system\u00c2\u00a0generator similar to\u00c2\u00a0Cinema 4D’s Thinking Particles plugin. There are also some other packages in Open Source panorama, which are gaining more features and adepts in order to use in a motion graphics workflow, while\u00c2\u00a0Blender\u00c2\u00a0integrates several of the functions of its commercial counterparts.<\/p>\n
Many motion graphics animators learn several\u00c2\u00a03D graphics\u00c2\u00a0packages for use according to each program’s strengths. Although many trends in motion graphics tend to be based on a specific software’s capabilities, the software is only a tool the\u00c2\u00a0broadcast designer\u00c2\u00a0uses while bringing the vision to life.<\/p>\n
Leaning heavily from techniques such as the\u00c2\u00a0collage\u00c2\u00a0or the\u00c2\u00a0pastiche, motion graphics has begun to integrate many traditional animation techniques as well, including\u00c2\u00a0stop-motion animation,\u00c2\u00a0cel animation\u00c2\u00a0or a combination of both.<\/p>\n
The above is a brief about Motion UI or Motion Graphics. Watch this space for more updates on the latest trends in Technology.<\/p>\n","protected":false},"excerpt":{"rendered":"
Motion UI or Motion graphics\u00c2\u00a0are<\/p>\n","protected":false},"author":1,"featured_media":1446,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[848,427,7],"tags":[849,429,18],"class_list":["post-1444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-motion-graphic","category-motion-ui","category-techtrends","tag-motion-graphic","tag-motion-ui","tag-technology"],"_links":{"self":[{"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/posts\/1444","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/comments?post=1444"}],"version-history":[{"count":1,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/posts\/1444\/revisions"}],"predecessor-version":[{"id":1445,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/posts\/1444\/revisions\/1445"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/media\/1446"}],"wp:attachment":[{"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/media?parent=1444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/categories?post=1444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.amt.in\/index.php\/wp-json\/wp\/v2\/tags?post=1444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}