. . . . . . . "L'animaci\u00F3 \u00E9s una simulaci\u00F3 de moviment produ\u00EFda mitjan\u00E7ant imatges que es creen una per una; en projectar-se successivament aquestes imatges (denominades quadres) es produeix una il\u00B7lusi\u00F3 de moviment, per\u00F2 el moviment representat no existeix en la realitat. Es basa en la il\u00B7lusi\u00F3 del moviment, en qu\u00E8 intervenen la persist\u00E8ncia de la visi\u00F3 i el fenomen fi. Aix\u00ED es designen diverses t\u00E8cniques cinematogr\u00E0fiques que tenen en com\u00FA de basar-se en un univers de proporcions redu\u00EFdes i de no reproduir cap element real. En el rodatge hom no usa el moviment, sin\u00F3 que s\u00F3n emprades t\u00E8cniques de filmaci\u00F3 d'imatge per imatge i mitjan\u00E7ant diversos trucatges \u00E9s creada la impressi\u00F3 de relleu i moviment. Compr\u00E8n el dibuix animat, amb el qual sovint es confon, el de ninots, titelles, collages, objectes en moviment, gravats m\u00F2bils, ombres i \u00E0dhuc composicions pl\u00E0stiques abstractes. L'animaci\u00F3 pertany a l'\u00E0mbit del cinema i la televisi\u00F3, encara que, com es pot comprovar, est\u00E0 en relaci\u00F3 directa amb les arts visuals cl\u00E0ssiques, dibuix, pintura i escultura, aix\u00ED com la fotografia. Per realitzar animaci\u00F3 existeixen nombroses t\u00E8cniques que van m\u00E9s enll\u00E0 dels familiars dibuixos animats. Els quadres que es poden generar dibuixant, pintant, o fotografiant els insignificants canvis fets repetidament a un model de la realitat o a un model tridimensional virtual; tamb\u00E9 \u00E9s possible animar objectes de la realitat i actors. Etimol\u00F2gicament, la paraula \"animaci\u00F3\", prov\u00E9 de la paraula llatina anim\u0101ti\u014D \"l'acte de portar a la vida\"; d'anim\u014D (\"animar\" o \"donar vida a\") + -\u0101ti\u014D (\"acte de\"), \u00E9s a dir, donar vida o \u00E0nima a unes imatges originalment est\u00E0tiques i imm\u00F2bils."@ca . . . . . . . . . . . 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\u03B5\u03BE\u03AD\u03BB\u03B9\u03BE\u03B7\u03C2 \u03C4\u03BF\u03C5 3D animation. \u039F\u03B9 \u03B1\u03C1\u03C7\u03AD\u03C2 \u03C4\u03BF\u03C5 animation \u03AD\u03B3\u03B9\u03BD\u03B1\u03BD \u03B1\u03C0\u03CC \u03C4\u03BF\u03C5\u03C2 Animators \u03C4\u03B7\u03C2 Disney \u03C4\u03B7 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1 \u03C4\u03BF\u03C5 1930. \u0391\u03C5\u03C4\u03AD\u03C2 \u03BF\u03B9 \u03B1\u03C1\u03C7\u03AD\u03C2 \u03B1\u03C0\u03BF\u03C4\u03B5\u03BB\u03BF\u03CD\u03BD \u03BA\u03B1\u03B9 \u03C4\u03BF \u03B8\u03B5\u03BC\u03B5\u03BB\u03B9\u03CE\u03B4\u03B7 \u03BB\u03AF\u03B8\u03BF \u03BA\u03AC\u03B8\u03B5 \u03B5\u03C0\u03B9\u03C4\u03C5\u03C7\u03B7\u03BC\u03AD\u03BD\u03B7\u03C2 \u03C3\u03C7\u03B5\u03B4\u03B9\u03BF\u03BA\u03AF\u03BD\u03B7\u03C3\u03B7\u03C2 \u03C7\u03B1\u03C1\u03B1\u03BA\u03C4\u03AE\u03C1\u03C9\u03BD. \u039C\u03C0\u03BF\u03C1\u03B5\u03AF \u03BF William Fetter, \u03C5\u03C0\u03AC\u03BB\u03BB\u03B7\u03BB\u03BF\u03C2 \u03C4\u03B7\u03C2 Boeing, Co. v\u03B1 \u03B5\u03C6\u03B7\u03CD\u03C1\u03B5 \u03C4\u03BF 1960 \u03C4\u03BF\u03BD \u03CC\u03C1\u03BF \u201Ccomputer animation/graphics\u201D \u03B1\u03BB\u03BB\u03AC \u03C4\u03B1 \u03C0\u03C1\u03CE\u03C4\u03B1 3D CGI (computer generated images) \u03C0\u03B1\u03C1\u03BF\u03C5\u03C3\u03B9\u03AC\u03C3\u03C4\u03B7\u03BA\u03B1\u03BD \u03C3\u03C4\u03BF \u03BA\u03BF\u03B9\u03BD\u03CC \u03BC\u03B5 \u03C4\u03B7\u03BD \u03C4\u03B1\u03B9\u03BD\u03AF\u03B1 FutureWorld \u03C4\u03BF 1976 \u03C4\u03C9\u03BD Ed Catmull \u03BA\u03B1\u03B9 Fred Parke \u03B5\u03BD\u03CE \u03B7 \u03C0\u03C1\u03CE\u03C4\u03B7 \u03B5\u03BE \u03BF\u03BB\u03BF\u03BA\u03BB\u03AE\u03C1\u03BF\u03C5 \u03C4\u03C1\u03B9\u03C3\u03B4\u03B9\u03AC\u03C3\u03C4\u03B1\u03C4\u03B7 \u03C4\u03B1\u03B9\u03BD\u03AF\u03B1, \u03C4\u03BF Toy Story, \u03B2\u03B3\u03AE\u03BA\u03B5 \u03C3\u03C4\u03B9\u03C2 \u03BA\u03B9\u03BD\u03B7\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03B1\u03C6\u03B9\u03BA\u03AD\u03C2 \u03B1\u03AF\u03B8\u03BF\u03C5\u03C3\u03B5\u03C2 \u03C4\u03BF 1995 \u03BC\u03B5 \u03C0\u03B1\u03C1\u03B1\u03B3\u03C9\u03B3\u03CC \u03C4\u03BF\u03BD John Lasseter \u03C4\u03B7\u03C2 Pixar \u03BA\u03B1\u03B9 \u03B4\u03B9\u03B1\u03BD\u03BF\u03BC\u03AE \u03C4\u03B7\u03C2 Disney Animation."@el . . . . . . "Animatie (media)"@nl . . . . . "Animation (\u03C3\u03C4\u03B1 \u03B5\u03BB\u03BB\u03B7\u03BD\u03B9\u03BA\u03AC \u03B1\u03C0\u03BF\u03B4\u03AF\u03B4\u03B5\u03C4\u03B1\u03B9 \u03BC\u03B5 \u03C4\u03BF\u03C5\u03C2 \u03CC\u03C1\u03BF\u03C5\u03C2 \u03C3\u03C7\u03B5\u03B4\u03B9\u03BF\u03BA\u03AF\u03BD\u03B7\u03C3\u03B7, \u03B5\u03BC\u03C8\u03C5\u03C7\u03BF\u03C0\u03BF\u03AF\u03B7\u03C3\u03B7, \u03B5\u03BC\u03C8\u03CD\u03C7\u03C9\u03C3\u03B7, \u03BA\u03B9\u03BD\u03BF\u03CD\u03BC\u03B5\u03BD\u03B7 \u03B5\u03B9\u03BA\u03CC\u03BD\u03B1) \u03B5\u03AF\u03BD\u03B1\u03B9 \u03B7 \u03C4\u03B1\u03C7\u03B5\u03AF\u03B1 \u03C0\u03C1\u03BF\u03B2\u03BF\u03BB\u03AE \u03BC\u03B9\u03B1\u03C2 \u03C3\u03B5\u03B9\u03C1\u03AC\u03C2 \u03B1\u03C0\u03CC \u03B5\u03B9\u03BA\u03CC\u03BD\u03B5\u03C2 (\u03B4\u03B9\u03C3\u03B4\u03B9\u03AC\u03C3\u03C4\u03B1\u03C4\u03B7\u03C2 \u03AE \u03C4\u03C1\u03B9\u03C3\u03B4\u03B9\u03AC\u03C3\u03C4\u03B1\u03C4\u03B7\u03C2 \u03BC\u03B1\u03BA\u03AD\u03C4\u03B1\u03C2) \u03AE \u03B8\u03AD\u03C3\u03B5\u03C9\u03BD \u03B5\u03BD\u03CC\u03C2 \u03BC\u03BF\u03BD\u03C4\u03AD\u03BB\u03BF\u03C5, \u03AD\u03C4\u03C3\u03B9 \u03CE\u03C3\u03C4\u03B5 \u03BD\u03B1 \u03B4\u03B7\u03BC\u03B9\u03BF\u03C5\u03C1\u03B3\u03B5\u03AF\u03C4\u03B1\u03B9 \u03B7 \u03C8\u03B5\u03C5\u03B4\u03B1\u03AF\u03C3\u03B8\u03B7\u03C3\u03B7 \u03C4\u03B7\u03C2 \u03BA\u03AF\u03BD\u03B7\u03C3\u03B7\u03C2. \u0395\u03AF\u03BD\u03B1\u03B9 \u03BC\u03B9\u03B1 \u03BF\u03C0\u03C4\u03B9\u03BA\u03AE \u03BF\u03C6\u03B8\u03B1\u03BB\u03BC\u03B1\u03C0\u03AC\u03C4\u03B7 \u03C4\u03B7\u03C2 \u03BA\u03AF\u03BD\u03B7\u03C3\u03B7\u03C2 \u03BA\u03B1\u03B9 \u03B1\u03C5\u03C4\u03CC \u03C3\u03C5\u03BC\u03B2\u03B1\u03AF\u03BD\u03B5\u03B9 \u03B5\u03BE \u03B1\u03B9\u03C4\u03AF\u03B1\u03C2 \u03C4\u03BF\u03C5 \u03C6\u03B1\u03B9\u03BD\u03BF\u03BC\u03AD\u03BD\u03BF\u03C5 \u03B4\u03B9\u03B1\u03C4\u03AE\u03C1\u03B7\u03C3\u03B7\u03C2 \u03C4\u03B7\u03C2 \u03B5\u03B9\u03BA\u03CC\u03BD\u03B1\u03C2 \u03C3\u03C4\u03BF \u03BC\u03AC\u03C4\u03B9 \u03B5\u03C0\u03AF 1/12 \u03C4\u03BF\u03C5 \u03B4\u03B5\u03C5\u03C4\u03B5\u03C1\u03BF\u03BB\u03AD\u03C0\u03C4\u03BF\u03C5 (\u03BC\u03B5\u03C4\u03B1\u03AF\u03C3\u03B8\u03B7\u03BC\u03B1 \u03AE \u03BC\u03B5\u03C4\u03B5\u03AF\u03BA\u03B1\u03C3\u03BC\u03B1). \u039A\u03AF\u03BD\u03B7\u03C3\u03B7 \u03BC\u03C0\u03BF\u03C1\u03B5\u03AF \u03BD\u03B1 \u03B4\u03B7\u03BC\u03B9\u03BF\u03C5\u03C1\u03B3\u03B7\u03B8\u03B5\u03AF \u03BA\u03B1\u03B9 \u03BD\u03B1 \u03C0\u03B1\u03C1\u03BF\u03C5\u03C3\u03B9\u03B1\u03C3\u03C4\u03B5\u03AF \u03BC\u03B5 \u03C0\u03BF\u03BB\u03BB\u03BF\u03CD\u03C2 \u03C4\u03C1\u03CC\u03C0\u03BF\u03C5\u03C2. \u0397 \u03C0\u03B9\u03BF \u03B4\u03B9\u03B1\u03B4\u03B5\u03B4\u03BF\u03BC\u03AD\u03BD\u03B7 \u03BC\u03AD\u03B8\u03BF\u03B4\u03BF\u03C2 \u03B1\u03C0\u03B5\u03B9\u03BA\u03CC\u03BD\u03B9\u03C3\u03B7\u03C2 \u03C4\u03B7\u03C2 \u03BA\u03B9\u03BD\u03BF\u03CD\u03BC\u03B5\u03BD\u03B7\u03C2 \u03B5\u03B9\u03BA\u03CC\u03BD\u03B1\u03C2 \u03B1\u03C0\u03BF\u03C4\u03B5\u03BB\u03B5\u03AF\u03C4\u03B1\u03B9 \u03B1\u03C0\u03CC \u03AD\u03BD\u03B1 \u03C0\u03C1\u03CC\u03B3\u03C1\u03B1\u03BC\u03BC\u03B1 \u03B2\u03AF\u03BD\u03C4\u03B5\u03BF \u03AE \u03BA\u03B9\u03BD\u03BF\u03C5\u03BC\u03AD\u03BD\u03BF\u03C5 \u03C3\u03C7\u03B5\u03B4\u03AF\u03BF\u03C5. Animation \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B5\u03AF\u03C4\u03B1\u03B9 \u03C4\u03CC\u03C3\u03BF \u03C3\u03C4\u03BF\u03BD \u03BA\u03B9\u03BD\u03B7\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03AC\u03C6\u03BF, \u03CC\u03C3\u03BF \u03BA\u03B1\u03B9 \u03C3\u03C4\u03B9\u03C2 \u03C4\u03B1\u03B9\u03BD\u03AF\u03B5\u03C2 \u03BA\u03B9\u03BD\u03BF\u03C5\u03BC\u03AD\u03BD\u03C9\u03BD \u03C3\u03C7\u03B5\u03B4\u03AF\u03C9\u03BD \u03BA\u03B1\u03B9 \u03C4\u03B1 \u03B2\u03B9\u03BD\u03C4\u03B5\u03BF\u03C0\u03B1\u03B9\u03C7\u03BD\u03AF\u03B4\u03B9\u03B1."@el . . . . . . "L'animaci\u00F3 \u00E9s una simulaci\u00F3 de moviment produ\u00EFda mitjan\u00E7ant imatges que es creen una per una; en projectar-se successivament aquestes imatges (denominades quadres) es produeix una il\u00B7lusi\u00F3 de moviment, per\u00F2 el moviment representat no existeix en la realitat. Es basa en la il\u00B7lusi\u00F3 del moviment, en qu\u00E8 intervenen la persist\u00E8ncia de la visi\u00F3 i el fenomen fi. L'animaci\u00F3 pertany a l'\u00E0mbit del cinema i la televisi\u00F3, encara que, com es pot comprovar, est\u00E0 en relaci\u00F3 directa amb les arts visuals cl\u00E0ssiques, dibuix, pintura i escultura, aix\u00ED com la fotografia."@ca . . . "Animation"@en . . . . . "Animation"@en . . . . "\u30A2\u30CB\u30E1\u30FC\u30B7\u30E7\u30F3"@ja . "Animacio"@eo . . "\u0410\u043D\u0456\u043C\u0430\u0301\u0446\u0456\u044F (\u0437 \u043B\u0430\u0442. anima \u2014 \u0434\u0443\u0448\u0430 \u0456 \u043F\u043E\u0445\u0456\u0434\u043D\u043E\u0433\u043E \u0444\u0440. animation \u2014 \u043E\u0436\u0438\u0432\u043B\u0435\u043D\u043D\u044F), \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0301\u0446\u0456\u044F (\u0437 \u043B\u0430\u0442. multiplicatio \u2014 \u0440\u043E\u0437\u043C\u043D\u043E\u0436\u0435\u043D\u043D\u044F, \u0437\u0431\u0456\u043B\u044C\u0448\u0435\u043D\u043D\u044F, \u0437\u0440\u043E\u0441\u0442\u0430\u043D\u043D\u044F) \u2014 \u0432\u0438\u0434 \u043A\u0456\u043D\u043E\u043C\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430, \u0442\u0432\u043E\u0440\u0438 \u044F\u043A\u043E\u0433\u043E \u0441\u0442\u0432\u043E\u0440\u044E\u044E\u0442\u044C\u0441\u044F \u0448\u043B\u044F\u0445\u043E\u043C \u0437\u043D\u0456\u043C\u0430\u043D\u043D\u044F \u043F\u043E\u0441\u043B\u0456\u0434\u043E\u0432\u043D\u0438\u0445 \u0444\u0430\u0437 \u0440\u0443\u0445\u0443 \u043D\u0430\u043C\u0430\u043B\u044C\u043E\u0432\u0430\u043D\u0438\u0445 (\u0433\u0440\u0430\u0444\u0456\u0447\u043D\u0430 \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u044F) \u0430\u0431\u043E \u043E\u0431'\u0454\u043C\u043D\u0438\u0445 (\u043E\u0431'\u0454\u043C\u043D\u0430 \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u044F) \u043E\u0431'\u0454\u043A\u0442\u0456\u0432. \u0426\u0456 \u0442\u0432\u043E\u0440\u0438 \u043D\u0430\u0437\u0438\u0432\u0430\u044E\u0442\u044C \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u0439\u043D\u0438\u043C\u0438 \u0430\u0431\u043E \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0446\u0456\u0439\u043D\u0438\u043C\u0438 \u0444\u0456\u043B\u044C\u043C\u0430\u043C\u0438 (\u043C\u0443\u043B\u044C\u0442\u0444\u0456\u043B\u044C\u043C\u0430\u043C\u0438). \u041F\u0435\u0440\u0448\u0456 \u043C\u0430\u043B\u044C\u043E\u0432\u0430\u043D\u0456 \u0444\u0456\u043B\u044C\u043C\u0438 \u0431\u0443\u043B\u0438 \u0432\u0438\u043F\u0443\u0449\u0435\u043D\u0456 \u0432 1908 \u0443 \u0424\u0440\u0430\u043D\u0446\u0456\u0457, \u043E\u0431'\u0454\u043C\u043D\u0456 \u2014 \u0432 1911 \u0443 \u0420\u043E\u0441\u0456\u0457."@uk . . . . . . . . . . . . "\u0627\u0644\u062A\u062D\u0631\u064A\u0643 \u0623\u0648 \u0627\u0644\u0623\u0646\u06CC\u0645\u064A\u0634\u0646 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Animation)\u200F \u0647\u0648 \u0639\u0631\u0636 \u0633\u0631\u064A\u0639 \u0644\u062A\u062A\u0627\u0628\u0639 \u0645\u0646 \u0627\u0644\u0635\u0648\u0631 \u062B\u0646\u0627\u0626\u064A\u0629 \u0627\u0644\u0628\u0639\u062F \u0623\u0648 \u0627\u0644\u0635\u0648\u0631 \u062B\u0644\u0627\u062B\u064A\u0629 \u0627\u0644\u0623\u0628\u0639\u0627\u062F \u0644\u0625\u064A\u062C\u0627\u062F \u0625\u064A\u062D\u0627\u0621 \u0628\u0627\u0644\u062D\u0631\u0643\u0629. \u0627\u0644\u0631\u0633\u0648\u0645 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0647\u064A \u0625\u062D\u064A\u0627\u0621 \u0627\u0644\u062D\u0631\u0643\u0629 \u0628\u062C\u0639\u0644 \u0627\u0644\u0635\u0648\u0631 \u062A\u0633\u062A\u0645\u0631 \u0623\u0648 \u0644\u0646\u0642\u0648\u0644 \u0627\u0646\u0647 \u062E\u062F\u0627\u0639 \u0628\u0635\u0631\u064A \u0644\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062A\u0627\u0644\u064A\u0629 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Persistence of vision)\u200F\u060C \u0648\u064A\u0645\u0643\u0646 \u0635\u0646\u0639 \u0648\u0639\u0631\u0636 \u0627\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0628\u0637\u0631\u0642 \u0645\u062A\u0639\u062F\u062F\u0629. \u0648\u0627\u0644\u0637\u0631\u064A\u0642\u0629 \u0627\u0644\u0634\u0627\u0626\u0639\u0629 \u0647\u064A \u0639\u0631\u0636 \u0627\u0644\u062D\u0631\u0643\u0629 \u0643\u0641\u064A\u0644\u0645 \u0623\u0648 \u0643\u0641\u064A\u062F\u064A\u0648. \u0648\u0647\u0646\u0627\u0643 \u0623\u064A\u0636\u0627\u064B \u0637\u0631\u0642 \u0623\u062E\u0631\u0649 \u0645\u062A\u0639\u062F\u062F\u0629 \u0644\u0639\u0631\u0636 \u0627\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0645\u0648\u062C\u0648\u062F\u0629 \u062D\u0627\u0644\u064A\u0627\u064B."@ar . . . . . "Animace"@cs . . "\u062A\u062D\u0631\u064A\u0643 \u0635\u0648\u0631"@ar . . "Animering"@sv . . . . . "Anima\u00E7\u00E3o refere-se ao processo, segundo o qual cada fotograma de um filme \u00E9 produzido individualmente, podendo ser gerado tanto por computa\u00E7\u00E3o gr\u00E1fica quanto fotografando uma imagem desenhada ou repetidamente, fazendo-se pequenas mudan\u00E7as a um modelo (ver claymation e stop motion), fotografando o resultado. Quando os fotogramas s\u00E3o ligados entre si e o filme resultante \u00E9 visto a uma velocidade de 16 ou mais imagens por segundo, h\u00E1 uma ilus\u00E3o de movimento cont\u00EDnuo (por causa do fen\u00F4meno phi). A constru\u00E7\u00E3o de um filme torna-se assim um trabalho muito intensivo e por vezes, entediante. O desenvolvimento da anima\u00E7\u00E3o digital aumentou muito a velocidade do processo, eliminando tarefas mec\u00E2nicas e repetitivas."@pt . . . . . . . . . "80"^^ . . . . . . . . . . . . . . . . . . . . . . . . "\u52A8\u753B"@zh . . "Animasi"@in . . "L\u2019animation, dans le domaine de l\u2019audiovisuel, est un ensemble de techniques qui ont \u00E9t\u00E9 mises au point \u00E0 partir du XIXe si\u00E8cle, d'abord par la reprise du principe de la bande dessin\u00E9e et l'utilisation de proc\u00E9d\u00E9s optiques et m\u00E9caniques ne d\u00E9passant pas deux secondes dans leur repr\u00E9sentation (jouet optique, folioscope), puis, d\u00E8s 1892, par le perfectionnement de ces proc\u00E9d\u00E9s en permettant des dur\u00E9es de repr\u00E9sentation plus importantes, de une \u00E0 cinq minutes (Th\u00E9\u00E2tre optique) et par l'utilisation en 1906 de la prise de vues image par image sur un support lin\u00E9aire, la pellicule photographique (dessin anim\u00E9, animation en volume), et enfin, \u00E0 partir des ann\u00E9es 1970, par l'adoption de proc\u00E9d\u00E9s informatiques (animation par ordinateur, jeux vid\u00E9o). Ces techniques sont le r\u00E9sultat d'une recherche \u00E9"@fr . "Animacio (a\u016D movbildo) estas optika iluzio, truko de movo kreata per seriemontrado de statikaj elementoj. \u011Cenerale oni kreas \u011Din per desegnitaj movi\u011Dantaj bildoj; en tiu okazo eblas \u011Din nomi desegnofilmo. La vorto animacio devenas el la latina anima (animo). Filmo kreata el animacio estas animacia filmo, tamen oni ofte ne distingas inter \"animacio\" kaj \"animacia filmo\", kaj la vorto \"movbildo\" estas uzata por amba\u016D."@eo . "animation"@en . . "Animacja"@pl . "La animaci\u00F3n es un proceso, utilizado por uno o m\u00E1s animadores, para dar la ilusi\u00F3n de movimiento a im\u00E1genes, dibujos u otro tipo de objetos inanimados (figuras de plastilina, por ejemplo).\u200B Se considera, normalmente, una ilusi\u00F3n \u00F3ptica. Existen numerosas t\u00E9cnicas para realizar una animaci\u00F3n que van m\u00E1s all\u00E1 de los familiares dibujos animados."@es . . . . . . . . . "Animation (von lateinisch animare \u201Azum Leben erwecken\u2018; anima \u201AGeist\u2018, \u201ASeele\u2018, \u201ALeben(skraft)\u2018, \u201AAtem\u2018) ist jede Technik, bei der durch das Erstellen und Anzeigen von Einzelbildern f\u00FCr den Betrachter ein bewegtes Bild geschaffen wird. Die Einzelbilder k\u00F6nnen gezeichnet, vom Computer berechnet oder fotografische Aufnahmen sein. Bei der Wiedergabe einer solchen Sequenz mit ca. 24 Bildern pro Sekunde entsteht beim Betrachter die Illusion einer ann\u00E4hernd fl\u00FCssigen Bewegung. Dies hat aber auch zur Folge, dass ein 90 Minuten langer Film aus 129.600 Einzelbildern besteht und dementsprechend der Aufwand f\u00FCr die Erstellung hoch ist."@de . . "Animace je vytv\u00E1\u0159en\u00ED zd\u00E1nliv\u011B se pohybuj\u00EDc\u00EDch v\u011Bc\u00ED. Slovo poch\u00E1z\u00ED z ciz\u00EDho slova znamenaj\u00EDc\u00EDho o\u017Eiven\u00ED. Animace se vyu\u017E\u00EDv\u00E1 mj. v animovan\u00E9m filmu. Princip animace p\u0159edstavuje z\u00E1znam na sebe navazuj\u00EDc\u00ED sekvence sn\u00EDmk\u016F, kter\u00E9 jsou ka\u017Ed\u00FD o sob\u011B statick\u00FD a drobn\u011B se od sebe li\u0161\u00ED. P\u0159i rychl\u00E9m zobrazov\u00E1n\u00ED t\u011Bchto sn\u00EDmk\u016F postupn\u011B za sebou vznik\u00E1 d\u00EDky setrva\u010Dnosti lidsk\u00E9ho oka dojem plynul\u00E9ho pohybu. Sn\u00EDmky se v\u0161ak mus\u00ED p\u0159ehr\u00E1vat takovou rychlost\u00ED, kterou u\u017E oko nepost\u0159ehne."@cs . . . . "Animation"@de . . . "yes"@en . . . . "68138"^^ . . . . . . . . . . . "Animation is a method by which still figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures."@en . . . "Animacja \u2013 technika filmowa polegaj\u0105ca na tworzeniu efektu o\u017Cywienia martwych kszta\u0142t\u00F3w przez dokonywanie serii pojedynczych zdj\u0119\u0107 rysunk\u00F3w, wycinanek, kukie\u0142ek lub sylwetek i wy\u015Bwietlaniu ich w spos\u00F3b ci\u0105g\u0142y."@pl . . . "Animatie is de illusie van beweging door het na elkaar afspelen van verschillende stilstaande beelden, zogenaamde frames. Er wordt onderscheid gemaakt tussen traditionele animatie en digitale animatie. Deze laatste komt het meeste voor en is te vinden op het internet, in tekenfilms en tekenfilmseries, animatiefilms, banners en uitleganimaties. Grafische computer formats zoals GIF, MNG, SVG, MP4 en Flash zorgen voor de animaties op computers en het internet."@nl . . . . . . . . . . . . . . "no"@en . . . . . . "\u0627\u0644\u062A\u062D\u0631\u064A\u0643 \u0623\u0648 \u0627\u0644\u0623\u0646\u06CC\u0645\u064A\u0634\u0646 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Animation)\u200F \u0647\u0648 \u0639\u0631\u0636 \u0633\u0631\u064A\u0639 \u0644\u062A\u062A\u0627\u0628\u0639 \u0645\u0646 \u0627\u0644\u0635\u0648\u0631 \u062B\u0646\u0627\u0626\u064A\u0629 \u0627\u0644\u0628\u0639\u062F \u0623\u0648 \u0627\u0644\u0635\u0648\u0631 \u062B\u0644\u0627\u062B\u064A\u0629 \u0627\u0644\u0623\u0628\u0639\u0627\u062F \u0644\u0625\u064A\u062C\u0627\u062F \u0625\u064A\u062D\u0627\u0621 \u0628\u0627\u0644\u062D\u0631\u0643\u0629. \u0627\u0644\u0631\u0633\u0648\u0645 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0647\u064A \u0625\u062D\u064A\u0627\u0621 \u0627\u0644\u062D\u0631\u0643\u0629 \u0628\u062C\u0639\u0644 \u0627\u0644\u0635\u0648\u0631 \u062A\u0633\u062A\u0645\u0631 \u0623\u0648 \u0644\u0646\u0642\u0648\u0644 \u0627\u0646\u0647 \u062E\u062F\u0627\u0639 \u0628\u0635\u0631\u064A \u0644\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062A\u0627\u0644\u064A\u0629 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Persistence of vision)\u200F\u060C \u0648\u064A\u0645\u0643\u0646 \u0635\u0646\u0639 \u0648\u0639\u0631\u0636 \u0627\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0628\u0637\u0631\u0642 \u0645\u062A\u0639\u062F\u062F\u0629. \u0648\u0627\u0644\u0637\u0631\u064A\u0642\u0629 \u0627\u0644\u0634\u0627\u0626\u0639\u0629 \u0647\u064A \u0639\u0631\u0636 \u0627\u0644\u062D\u0631\u0643\u0629 \u0643\u0641\u064A\u0644\u0645 \u0623\u0648 \u0643\u0641\u064A\u062F\u064A\u0648. \u0648\u0647\u0646\u0627\u0643 \u0623\u064A\u0636\u0627\u064B \u0637\u0631\u0642 \u0623\u062E\u0631\u0649 \u0645\u062A\u0639\u062F\u062F\u0629 \u0644\u0639\u0631\u0636 \u0627\u0644\u0635\u0648\u0631 \u0627\u0644\u0645\u062A\u062D\u0631\u0643\u0629 \u0645\u0648\u062C\u0648\u062F\u0629 \u062D\u0627\u0644\u064A\u0627\u064B."@ar . . . "Is \u00E9 is beochan ann n\u00E1 l\u00E9iri\u00FA sciobtha de sheicheamh \u00EDomh\u00E1nna socra leis an aidhm go n-aireofar go bhfuil siad ag gluaiseacht. Braitheann \u00E9ifeacht gach uile caighde\u00E1n a chuireann picti\u00FAir ag bogadh ar sheasmhacht f\u00EDse \u2013 aga moille i bhfreagairt na s\u00FAile do radharcanna, rud a fh\u00E1gann \u00EDomh\u00E1nna breise ar an ts\u00FAil. M\u00E1 l\u00E9ir\u00EDtear seicheamh d\u2019\u00EDomh\u00E1nna socra ag r\u00E1ta s\u00E1ch scioptha, thar teorainn ar a thugtar an , air\u00EDmid moth\u00FA radhairc lean\u00FAnach seachas na h\u00EDomh\u00E1nna aonaracha. M\u00E1s difr\u00EDochta\u00ED beaga iad at\u00E1 idir na h\u00EDomh\u00E1nna lean\u00FAnacha, aireofar mar ghluaiseachta\u00ED iad."@ga . . . . . "593"^^ . . . . . . . . "no"@en . . . . "Animering eller animationsteknik (fr\u00E5n latin: ge sj\u00E4l eller levandeg\u00F6ra) syftar p\u00E5 en process d\u00E4r man visar en sekvens av tv\u00E5dimensionella eller tredimensionella konstverk eller figurer i snabb f\u00F6ljd f\u00F6r att skapa en r\u00F6rlig bild. Den synvillan beror p\u00E5 \u00F6gats tr\u00F6ghet (eller s\u00E5 kallad Beta movement), samma fenomen som g\u00F6r att . Stillbilderna kan tecknas, fotograferas, datoranimeras eller g\u00F6rs med dockor eller andra modeller (via stop motion). Den vanligaste metoden att visa animering \u00E4r som en film eller p\u00E5 TV, men flera andra m\u00F6jligheter finns. Utanf\u00F6r renodlade animerade filmer anv\u00E4nds animationstekniker \u00E4ven f\u00F6r att skapa specialeffekter i spelfilm. Att framst\u00E4lla animerad film \u00E4r mycket arbetsintensivt och kr\u00E4ver skicklighet, noggrannhet och mycket t\u00E5lamod. Det \u00E4r d\u00E4rf\u00F6r ocks\u00E5 dyrt. En vanlig animerad l\u00E5ngfilm med ungef\u00E4r 24 rutor per sekund kr\u00E4ver c:a 130 000 individuella bilder. Med dator och genv\u00E4gar kan animeringsarbetet f\u00F6renklas mycket. Men animering \u00E4r \u00E4nd\u00E5 till st\u00F6rsta delen ett hantverk."@sv . . . . . . . . "Film animasi, atau biasa disingkat animasi saja, adalah film yang merupakan karya tangan (gambar) yang bergerak. Pada awal penemuannya, film animasi dibuat dari berlembar-lembar kertas gambar yang kemudian di-\"putar\" sehingga muncul efek gambar bergerak. Dengan bantuan komputer dan grafika komputer, pembuatan film animasi menjadi sangat mudah dan cepat. Bahkan akhir-akhir ini lebih banyak bermunculan film animasi 3 dimensi daripada film animasi 2 dimensi. Wayang Kulit merupakan salah satu bentuk animasi tertua di dunia.[butuh rujukan] Bahkan ketika teknologi elektronik dan komputer belum ditemukan, pertunjukan wayang kulit telah memenuhi semua elemen animasi seperti layar, gambar bergerak, dialog dan ilustrasi musik. Selain Wayang Kulit masih ada banyak lagi bentuk animasi yang Umurnya jauh lebih Tua. Contohnya seperti opera yang merupakan animasi dalam bentuk 3 dimensi."@in . . . . . . . . . . . . . . . . . . . . . "The bouncing ball animation consists of these six frames, repeated indefinitely."@en . . . . . . . . . "Beochan"@ga . . . . . . . . . "Animation (von lateinisch animare \u201Azum Leben erwecken\u2018; anima \u201AGeist\u2018, \u201ASeele\u2018, \u201ALeben(skraft)\u2018, \u201AAtem\u2018) ist jede Technik, bei der durch das Erstellen und Anzeigen von Einzelbildern f\u00FCr den Betrachter ein bewegtes Bild geschaffen wird. Die Einzelbilder k\u00F6nnen gezeichnet, vom Computer berechnet oder fotografische Aufnahmen sein. Bei der Wiedergabe einer solchen Sequenz mit ca. 24 Bildern pro Sekunde entsteht beim Betrachter die Illusion einer ann\u00E4hernd fl\u00FCssigen Bewegung. Dies hat aber auch zur Folge, dass ein 90 Minuten langer Film aus 129.600 Einzelbildern besteht und dementsprechend der Aufwand f\u00FCr die Erstellung hoch ist. Die Animation analysiert die in der Natur gefundenen Bewegungen, setzt sie aber nicht nur 1:1 in der Synthese um, sondern bietet auch die M\u00F6glichkeit, diese verzerrt oder mit ver\u00E4ndertem Timing darzustellen, um dramatische oder komische Effekte zu erzielen. Der gr\u00F6\u00DFte Teil der weltweiten Animation wird f\u00FCr den Bereich Trickfilm produziert, f\u00FCr Kino oder Fernsehen, zur Unterhaltung oder f\u00FCr die Werbung. Daneben existiert der Bereich der bewegten Visualisierung in Naturwissenschaft, Architektur, Design, Kunst oder Lehre."@de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Animaci\u00F3"@ca . . . . "( \uB2E4\uB978 \uB73B\uC5D0 \uB300\uD574\uC11C\uB294 \uC560\uB2C8\uBA54\uC774\uC158 (\uB3D9\uC74C\uC774\uC758) \uBB38\uC11C\uB97C \uCC38\uACE0\uD558\uC2ED\uC2DC\uC624.) \uC560\uB2C8\uBA54\uC774\uC158(\uC601\uC5B4: Animation)\uC740 \uC5EC\uB7EC \uC7A5\uC758 \uD654\uBA74\uC744 \uC5F0\uC18D\uCD2C\uC601 \uD558\uACE0, \uC870\uC791\uD558\uC5EC \uD654\uBA74\uC774 \uC6C0\uC9C1\uC5EC \uBCF4\uC774\uAC8C \uB9CC\uB4E0 \uC601\uD654\uC758 \uD55C \uC77C\uC885\uC774\uB2E4. \uC774 \uC6A9\uC5B4\uB294 \"\uC0B4\uC544\uC788\uB294\"\uC744 \uB73B\uD558\uB294 \uB77C\uD2F4\uC5B4 \uB0B1\uB9D0 Anima\uC5D0\uC11C \uBE44\uB86F\uD558\uC600\uB2E4. \uAC04\uB2E8\uD788 \uB3D9\uD654(\u52D5\u7575)\uB77C\uACE0\uB3C4 \uBD80\uB978\uB2E4. '\uB9CC\uD654'\uB098 '\uB3D9\uD654'\uB294 \uADF8\uB9BC\uC758 \uC758\uBBF8\uB97C \uAC16\uACE0 \uC788\uC73C\uB098, \uAC01 \uC7A5\uBA74\uC740 \uADF8\uB9BC\uC774 \uC544\uB2D0 \uC218 \uC788\uB2E4. 3\uCC28\uC6D0 \uBAA8\uB378\uB9C1\uC744 \uD1B5\uD574 \uCEF4\uD4E8\uD130 \uD654\uBA74\uC0C1\uC73C\uB85C \uC7AC\uD604\uB41C \uC601\uC0C1\uC758 \uACBD\uC6B0\uB3C4 \uC560\uB2C8\uBA54\uC774\uC158\uC5D0 \uD3EC\uD568\uB41C\uB2E4. \uB300\uD55C\uBBFC\uAD6D\uC5D0\uC11C \uC560\uB2C8\uBA54\uC774\uC158\uC5D0 \uAD00\uC2EC\uC774 \uB9CE\uC740 \uC0AC\uB78C\uB4E4 \uC0AC\uC774\uC5D0\uC11C\uB294 \uC560\uB2C8\uB77C\uACE0 \uC9E7\uAC8C \uD45C\uAE30\uD558\uAE30\uB3C4 \uD558\uBA70 \uC77C\uBCF8\uC5D0\uC11C\uB294 \uC544\uB2C8\uBA54(\u30A2\u30CB\u30E1)\uB85C \uC904\uC5EC \uBD80\uB974\uAC70\uB098 \uB3C4\uAC00(\uC77C\uBCF8\uC5B4: \u52D5\u753B, \uB3D9\uD654)\uB77C\uACE0 \uB9D0\uD55C\uB2E4. \uC678\uBD80\uC801\uC73C\uB85C\uB294 \uC77C\uBCF8\uC5D0\uC11C \uB9CC\uB4DC\uB294 \uC560\uB2C8\uBA54\uC774\uC158\uC744 \uC77C\uBCF8(Japan)\uACFC \uC560\uB2C8\uBA54\uC774\uC158(animation)\uC758 \uD569\uC131\uC5B4\uC778 \uC7AC\uD328\uB2C8\uBA54\uC774\uC158(Japanimation)\uC73C\uB85C \uBD80\uB974\uAE30\uB3C4 \uD55C\uB2E4."@ko . . . . . . . . . "no"@en . . . "\uC560\uB2C8\uBA54\uC774\uC158"@ko . "Animexample.gif"@en . . . . . . . . . . . . . . . . . . . . . . . . . . "right"@en . . . . . . . . . . "Animacja \u2013 technika filmowa polegaj\u0105ca na tworzeniu efektu o\u017Cywienia martwych kszta\u0142t\u00F3w przez dokonywanie serii pojedynczych zdj\u0119\u0107 rysunk\u00F3w, wycinanek, kukie\u0142ek lub sylwetek i wy\u015Bwietlaniu ich w spos\u00F3b ci\u0105g\u0142y. Pierwsze pionierskie rozwi\u0105zania z dziedziny animacji powstawa\u0142y jeszcze przed powstaniem filmu - ju\u017C w 1832 Joseph Plateau opracowa\u0142 fenakistiskop tworz\u0105cy wra\u017Cenie ruchu szybko przesuwaj\u0105cych si\u0119 obraz\u00F3w. Dwa lata p\u00F3\u017Aniej William George Horner rozwin\u0105\u0142 ten pomys\u0142, tworz\u0105c zoetrop - obracaj\u0105cy si\u0119 cylinder zawieraj\u0105cy seri\u0119 obrazk\u00F3w przedstawiaj\u0105cych kolejne etapy ruchu. W 1877 \u00C9mile Reynaud wynalaz\u0142 praksinoskop, a w 1892 stworzy\u0142 pierwszy kr\u00F3tki film animowany - Pauvre Pierrot. Innym pionierem techniki animacji by\u0142 James Stuart Blackton, kt\u00F3ry eksperymentowa\u0142 z animacj\u0105 poklatkow\u0105, a w 1906 zosta\u0142 autorem filmu Humorous Phases of Funny Faces."@pl . . . . . . . "Animaci\u00F3n"@es . "L'animazione \u00E8 una tecnica che crea la percezione di movimento tramite immagini proposte allo spettatore in rapida successione temporale. L'effetto di percezione del movimento \u00E8 possibile, stando agli ultimi studi fisiologici e neurologici sulla percezione, grazie al meccanismo della \"short-range apparent motion\", ossia \"movimento apparente a corto raggio\". (Contrariamente a un mito duro a morire, l'animazione e pi\u00F9 in generale il cinema e il video, non sono basati sulla cosiddetta persistenza della visione o sul fenomeno phi, che sono concetti antiquati e fraintesi, nati rispettivamente nel diciannovesimo secolo e all'inizio del ventesimo secolo.) L'animazione viene solitamente prodotta mediante disegni animati o animazioni a passo uno. Gli animatori sono le figure professionali che si dedicano alla creazione di animazioni. Le animazioni, disegnate su carta, oppure prodotte con la computer grafica, possono essere fruite tramite una vasta gamma di metodi. A partire dal semplicissimo flip-book (un blocchetto di fogli), ai macchinari del precinema, alla pellicola cinematografica, al video, sino ai sistemi digitali di ogni tipo oggi in commercio."@it . . . . "Weare"@en . . . . . . . "Anima\u00E7\u00E3o"@pt . . . . . . . . . . . . . . "( \uB2E4\uB978 \uB73B\uC5D0 \uB300\uD574\uC11C\uB294 \uC560\uB2C8\uBA54\uC774\uC158 (\uB3D9\uC74C\uC774\uC758) \uBB38\uC11C\uB97C \uCC38\uACE0\uD558\uC2ED\uC2DC\uC624.) \uC560\uB2C8\uBA54\uC774\uC158(\uC601\uC5B4: Animation)\uC740 \uC5EC\uB7EC \uC7A5\uC758 \uD654\uBA74\uC744 \uC5F0\uC18D\uCD2C\uC601 \uD558\uACE0, \uC870\uC791\uD558\uC5EC \uD654\uBA74\uC774 \uC6C0\uC9C1\uC5EC \uBCF4\uC774\uAC8C \uB9CC\uB4E0 \uC601\uD654\uC758 \uD55C \uC77C\uC885\uC774\uB2E4. \uC774 \uC6A9\uC5B4\uB294 \"\uC0B4\uC544\uC788\uB294\"\uC744 \uB73B\uD558\uB294 \uB77C\uD2F4\uC5B4 \uB0B1\uB9D0 Anima\uC5D0\uC11C \uBE44\uB86F\uD558\uC600\uB2E4. \uAC04\uB2E8\uD788 \uB3D9\uD654(\u52D5\u7575)\uB77C\uACE0\uB3C4 \uBD80\uB978\uB2E4. '\uB9CC\uD654'\uB098 '\uB3D9\uD654'\uB294 \uADF8\uB9BC\uC758 \uC758\uBBF8\uB97C \uAC16\uACE0 \uC788\uC73C\uB098, \uAC01 \uC7A5\uBA74\uC740 \uADF8\uB9BC\uC774 \uC544\uB2D0 \uC218 \uC788\uB2E4. 3\uCC28\uC6D0 \uBAA8\uB378\uB9C1\uC744 \uD1B5\uD574 \uCEF4\uD4E8\uD130 \uD654\uBA74\uC0C1\uC73C\uB85C \uC7AC\uD604\uB41C \uC601\uC0C1\uC758 \uACBD\uC6B0\uB3C4 \uC560\uB2C8\uBA54\uC774\uC158\uC5D0 \uD3EC\uD568\uB41C\uB2E4. \uB300\uD55C\uBBFC\uAD6D\uC5D0\uC11C \uC560\uB2C8\uBA54\uC774\uC158\uC5D0 \uAD00\uC2EC\uC774 \uB9CE\uC740 \uC0AC\uB78C\uB4E4 \uC0AC\uC774\uC5D0\uC11C\uB294 \uC560\uB2C8\uB77C\uACE0 \uC9E7\uAC8C \uD45C\uAE30\uD558\uAE30\uB3C4 \uD558\uBA70 \uC77C\uBCF8\uC5D0\uC11C\uB294 \uC544\uB2C8\uBA54(\u30A2\u30CB\u30E1)\uB85C \uC904\uC5EC \uBD80\uB974\uAC70\uB098 \uB3C4\uAC00(\uC77C\uBCF8\uC5B4: \u52D5\u753B, \uB3D9\uD654)\uB77C\uACE0 \uB9D0\uD55C\uB2E4. \uC678\uBD80\uC801\uC73C\uB85C\uB294 \uC77C\uBCF8\uC5D0\uC11C \uB9CC\uB4DC\uB294 \uC560\uB2C8\uBA54\uC774\uC158\uC744 \uC77C\uBCF8(Japan)\uACFC \uC560\uB2C8\uBA54\uC774\uC158(animation)\uC758 \uD569\uC131\uC5B4\uC778 \uC7AC\uD328\uB2C8\uBA54\uC774\uC158(Japanimation)\uC73C\uB85C \uBD80\uB974\uAE30\uB3C4 \uD55C\uB2E4."@ko . . . "\u041C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u044F (\u043E\u0442 \u043B\u0430\u0442. multiplicatio \u00AB\u0443\u043C\u043D\u043E\u0436\u0435\u043D\u0438\u0435, \u0443\u0432\u0435\u043B\u0438\u0447\u0435\u043D\u0438\u0435, \u0432\u043E\u0437\u0440\u0430\u0441\u0442\u0430\u043D\u0438\u0435, \u0440\u0430\u0437\u043C\u043D\u043E\u0436\u0435\u043D\u0438\u0435\u00BB), \u0438\u043B\u0438 \u0430\u043D\u0438\u043C\u0430\u0446\u0438\u044F, \u2014 \u0442\u0435\u0445\u043D\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u043F\u0440\u0438\u0451\u043C\u044B \u0441\u043E\u0437\u0434\u0430\u043D\u0438\u044F \u0438\u043B\u043B\u044E\u0437\u0438\u0438 \u0434\u0432\u0438\u0436\u0443\u0449\u0438\u0445\u0441\u044F \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u0439 (\u0434\u0432\u0438\u0436\u0435\u043D\u0438\u044F \u0438/\u0438\u043B\u0438 \u0438\u0437\u043C\u0435\u043D\u0435\u043D\u0438\u044F \u0444\u043E\u0440\u043C\u044B \u043E\u0431\u044A\u0435\u043A\u0442\u043E\u0432 \u2014 \u043C\u043E\u0440\u0444\u0438\u043D\u0433\u0430) \u0441 \u043F\u043E\u043C\u043E\u0449\u044C\u044E \u043F\u043E\u0441\u043B\u0435\u0434\u043E\u0432\u0430\u0442\u0435\u043B\u044C\u043D\u043E\u0441\u0442\u0438 \u043D\u0435\u043F\u043E\u0434\u0432\u0438\u0436\u043D\u044B\u0445 \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u0439 (\u043A\u0430\u0434\u0440\u043E\u0432), \u0441\u043C\u0435\u043D\u044F\u044E\u0449\u0438\u0445 \u0434\u0440\u0443\u0433 \u0434\u0440\u0443\u0433\u0430 \u0441 \u0431\u043E\u043B\u044C\u0448\u043E\u0439 \u0447\u0430\u0441\u0442\u043E\u0442\u043E\u0439 (\u043E\u0442 12 \u043A\u0430\u0434\u0440\u043E\u0432 \u0432 \u0441\u0435\u043A\u0443\u043D\u0434\u0443 \u0434\u043B\u044F \u0440\u0438\u0441\u043E\u0432\u0430\u043D\u043D\u043E\u0439 \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u0438 \u0434\u043E 30 \u043A\u0430\u0434\u0440\u043E\u0432 \u0432 \u0441\u0435\u043A\u0443\u043D\u0434\u0443 \u0434\u043B\u044F \u043A\u043E\u043C\u043F\u044C\u044E\u0442\u0435\u0440\u043D\u043E\u0439 \u0430\u043D\u0438\u043C\u0430\u0446\u0438\u0438). \u041C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u043E\u043D\u043D\u043E\u0435 \u043A\u0438\u043D\u043E \u043D\u0430\u0440\u044F\u0434\u0443 \u0441 \u0438\u0433\u0440\u043E\u0432\u044B\u043C \u044F\u0432\u043B\u044F\u0435\u0442\u0441\u044F \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u044C\u044E \u0445\u0443\u0434\u043E\u0436\u0435\u0441\u0442\u0432\u0435\u043D\u043D\u043E\u0433\u043E \u043A\u0438\u043D\u043E."@ru . . . "La animaci\u00F3n es un proceso, utilizado por uno o m\u00E1s animadores, para dar la ilusi\u00F3n de movimiento a im\u00E1genes, dibujos u otro tipo de objetos inanimados (figuras de plastilina, por ejemplo).\u200B Se considera, normalmente, una ilusi\u00F3n \u00F3ptica. Existen numerosas t\u00E9cnicas para realizar una animaci\u00F3n que van m\u00E1s all\u00E1 de los familiares dibujos animados. Los cuadros se pueden generar dibujando, pintando o fotografiando los min\u00FAsculos cambios hechos repetidamente a un modelo de la realidad o a un modelo tridimensional virtual; tambi\u00E9n es posible animar objetos reales y actores. Entre los formatos de archivo de animaci\u00F3n (o que soportan animaci\u00F3n) se encuentran el GIF, el SVG, etc. Las animaciones en GIF son guardadas imagen por imagen; sin embargo, existen animaciones que no se logran as\u00ED, sino que son interpretadas y \"armadas\" en tiempo real al ejecutarse, como el SVG."@es . . . . "Animatie is de illusie van beweging door het na elkaar afspelen van verschillende stilstaande beelden, zogenaamde frames. Er wordt onderscheid gemaakt tussen traditionele animatie en digitale animatie. Deze laatste komt het meeste voor en is te vinden op het internet, in tekenfilms en tekenfilmseries, animatiefilms, banners en uitleganimaties. Grafische computer formats zoals GIF, MNG, SVG, MP4 en Flash zorgen voor de animaties op computers en het internet."@nl . . "Animering eller animationsteknik (fr\u00E5n latin: ge sj\u00E4l eller levandeg\u00F6ra) syftar p\u00E5 en process d\u00E4r man visar en sekvens av tv\u00E5dimensionella eller tredimensionella konstverk eller figurer i snabb f\u00F6ljd f\u00F6r att skapa en r\u00F6rlig bild. Den synvillan beror p\u00E5 \u00F6gats tr\u00F6ghet (eller s\u00E5 kallad Beta movement), samma fenomen som g\u00F6r att . Stillbilderna kan tecknas, fotograferas, datoranimeras eller g\u00F6rs med dockor eller andra modeller (via stop motion). Den vanligaste metoden att visa animering \u00E4r som en film eller p\u00E5 TV, men flera andra m\u00F6jligheter finns. Utanf\u00F6r renodlade animerade filmer anv\u00E4nds animationstekniker \u00E4ven f\u00F6r att skapa specialeffekter i spelfilm."@sv . . . "Animazioa irudi estatiko sorta bat bata bestearen atzetik agerraraziz, ikuslearengan irudi mugikorren ilusioa eragiten duen metodoa da, mugimendurik ez duten izaki edo marrazkiei mugimendua ezartzeko erabiltzen den teknika zinematografikoa. Honen adibide dira marrazki bizidunak, baina badira mota gehiago ere; stop motion delakoa edo konputagailu bidezko animazioa kasu. Izena latinezko \"animationem\" hitzetik dator, \"animare\" aditzaren partizipio burutua. Erranahia \"biziaraztearen ekintza\" litzateke. Animazioak sortzen dituen pertsonari animatzaile deritzo."@eu . "85"^^ . "This animation moves at 10 frames per second."@en . . . "Animace je vytv\u00E1\u0159en\u00ED zd\u00E1nliv\u011B se pohybuj\u00EDc\u00EDch v\u011Bc\u00ED. Slovo poch\u00E1z\u00ED z ciz\u00EDho slova znamenaj\u00EDc\u00EDho o\u017Eiven\u00ED. Animace se vyu\u017E\u00EDv\u00E1 mj. v animovan\u00E9m filmu. Princip animace p\u0159edstavuje z\u00E1znam na sebe navazuj\u00EDc\u00ED sekvence sn\u00EDmk\u016F, kter\u00E9 jsou ka\u017Ed\u00FD o sob\u011B statick\u00FD a drobn\u011B se od sebe li\u0161\u00ED. P\u0159i rychl\u00E9m zobrazov\u00E1n\u00ED t\u011Bchto sn\u00EDmk\u016F postupn\u011B za sebou vznik\u00E1 d\u00EDky setrva\u010Dnosti lidsk\u00E9ho oka dojem plynul\u00E9ho pohybu. Sn\u00EDmky se v\u0161ak mus\u00ED p\u0159ehr\u00E1vat takovou rychlost\u00ED, kterou u\u017E oko nepost\u0159ehne."@cs . . . . "\u52A8\u753B\uFF08\u82F1\u8A9E\uFF1AAnimation\uFF09\u662F\u4E00\u79CD\u901A\u8FC7\u5B9A\u65F6\u62CD\u6444\u4E00\u7CFB\u5217\u591A\u4E2A\u9759\u6B62\u7684\u56FA\u6001\u56FE\u50CF\uFF08\u5E27\uFF09\u4EE5\u4E00\u5B9A\u9891\u7387\u8FDE\u7EED\u53D8\u5316\u3001\u8FD0\u52A8\uFF08\u64AD\u653E\uFF09\u7684\u901F\u5EA6\uFF08\u5982\u6BCF\u79D216\u5F20\uFF09\u800C\u5BFC\u81F4\u8089\u773C\u7684\u89C6\u89C9\u6B8B\u8C61\u4EA7\u751F\u7684\u9519\u89C9\u2014\u2014\u800C\u8BEF\u4EE5\u4E3A\u56FE\u753B\u6216\u7269\u4F53\uFF08\u753B\u9762\uFF09\u6D3B\u52A8\u7684\u4F5C\u54C1\u53CA\u5176\u5F71\u7247\u6280\u672F\u3002 \u5176\u753B\u9762\u7684\u5236\u4F5C\u65B9\u5F0F\uFF0C\u6700\u5E38\u89C1\u7684\u662F\u5728\u7EB8\u5F20\u6216\u8D5B\u7490\u73DE\u7247\u4E0A\uFF0C\u5176\u5B83\u7684\u88FD\u4F5C\u65B9\u5F0F\u8FD8\u5305\u542B\u4E86\u904B\u7528\u9ECF\u571F\u3001\u6A21\u578B\u3001\u3001\u6C99\u753B\u3001\u96FB\u8166\u7B49\u3002\u7531\u4E8E\u7535\u8111\u79D1\u6280\u7684\u8FDB\u6B65\uFF0C\u73B0\u5728\u4E5F\u6709\u8BB8\u591A\u5229\u7528\u7535\u8111\u52A8\u753B\u8F6F\u4EF6\uFF0C\u76F4\u63A5\u5728\u7535\u8111\u4E0A\u5236\u4F5C\u51FA\u6765\u7684\u52A8\u753B\uFF0C\u6216\u8005\u662F\u5728\u52A8\u753B\u5236\u4F5C\u8FC7\u7A0B\u4E2D\u4F7F\u7528\u7535\u8111\u8FDB\u884C\u52A0\u5DE5\u7684\u65B9\u5F0F\uFF0C\u8FD9\u4E9B\u90FD\u5DF2\u7ECF\u5927\u91CF\u8FD0\u7528\u5728\u5546\u4E1A\u52A8\u753B\u7684\u5236\u4F5C\u4E2D\u3002\u901A\u5E38\u52A8\u753B\u662F\u7531\u5927\u91CF\u5BC6\u96C6\u548C\u4E4F\u5473\u7684\u52B3\u52A8\u4EA7\u751F\uFF0C\u5C31\u7B97\u5728\u7535\u8111\u52A8\u753B\u79D1\u6280\u5F97\u5230\u957F\u8DB3\u8FDB\u6B65\u548C\u53D1\u5C55\u7684\u73B0\u5728\u4E5F\u662F\u5982\u6B64\u3002"@zh . . . . . . . . "Is \u00E9 is beochan ann n\u00E1 l\u00E9iri\u00FA sciobtha de sheicheamh \u00EDomh\u00E1nna socra leis an aidhm go n-aireofar go bhfuil siad ag gluaiseacht. Braitheann \u00E9ifeacht gach uile caighde\u00E1n a chuireann picti\u00FAir ag bogadh ar sheasmhacht f\u00EDse \u2013 aga moille i bhfreagairt na s\u00FAile do radharcanna, rud a fh\u00E1gann \u00EDomh\u00E1nna breise ar an ts\u00FAil. M\u00E1 l\u00E9ir\u00EDtear seicheamh d\u2019\u00EDomh\u00E1nna socra ag r\u00E1ta s\u00E1ch scioptha, thar teorainn ar a thugtar an , air\u00EDmid moth\u00FA radhairc lean\u00FAnach seachas na h\u00EDomh\u00E1nna aonaracha. M\u00E1s difr\u00EDochta\u00ED beaga iad at\u00E1 idir na h\u00EDomh\u00E1nna lean\u00FAnacha, aireofar mar ghluaiseachta\u00ED iad. Tugtar cart\u00FAn ar bheochan at\u00E1 d\u00E9anta de l\u00EDn\u00EDochta\u00ED. Is sampla\u00ED iad agus Mobile Suit Gundam den chine\u00E1l beochana seo."@ga . . . . . . . "Anima\u00E7\u00E3o refere-se ao processo, segundo o qual cada fotograma de um filme \u00E9 produzido individualmente, podendo ser gerado tanto por computa\u00E7\u00E3o gr\u00E1fica quanto fotografando uma imagem desenhada ou repetidamente, fazendo-se pequenas mudan\u00E7as a um modelo (ver claymation e stop motion), fotografando o resultado. Quando os fotogramas s\u00E3o ligados entre si e o filme resultante \u00E9 visto a uma velocidade de 16 ou mais imagens por segundo, h\u00E1 uma ilus\u00E3o de movimento cont\u00EDnuo (por causa do fen\u00F4meno phi). A constru\u00E7\u00E3o de um filme torna-se assim um trabalho muito intensivo e por vezes, entediante. O desenvolvimento da anima\u00E7\u00E3o digital aumentou muito a velocidade do processo, eliminando tarefas mec\u00E2nicas e repetitivas. A produ\u00E7\u00E3o da anima\u00E7\u00E3o consome muito tempo e \u00E9 quase sempre muito complexa. Anima\u00E7\u00E3o limitada \u00E9 uma forma de aumentar a produ\u00E7\u00E3o e gera\u00E7\u00E3o. Esse m\u00E9todo foi usado de forma pioneira pela UPA e popularizada pela Hanna-Barbera."@pt . . . . . . . . . . . "Animazione"@it . . . . . . . . . . . . . . . . . . . . . "1124392095"^^ . . . . "160"^^ . . . . "Animexample3edit.png"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u30A2\u30CB\u30E1\u30FC\u30B7\u30E7\u30F3\uFF08\u82F1\u8A9E: Animation\uFF09\u306F\u3001\u52D5\u753B\uFF08\u3069\u3046\u304C\uFF09\u3068\u3082\u547C\u3070\u308C\u3001\u30B3\u30DE\u64AE\u308A\u306A\u3069\u306B\u3088\u3063\u3066\u3001\u8907\u6570\u306E\u9759\u6B62\u753B\u50CF\u306B\u3088\u308A\u52D5\u304D\u3092\u4F5C\u308B\u6280\u8853\u3002\u9023\u7D9A\u3057\u3066\u5909\u5316\u3059\u308B\u7D75\u3084\u7269\u306B\u3088\u308A\u767A\u751F\u3059\u308B\u4EEE\u73FE\u904B\u52D5\u3092\u5229\u7528\u3057\u305F\u6620\u50CF\u624B\u6CD5\u3067\u3042\u308B\u3002\u7565\u8A9E\u306F\u30A2\u30CB\u30E1\u3002"@ja . . . . "Animation is a method by which still figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures. A cartoon is an animated film, usually a short film, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human protagonists. Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the action often centers on violent pratfalls such as falls, collisions, and explosions that would be lethal in real life. The illusion of animation\u2014as in motion pictures in general\u2014has traditionally been attributed to the persistence of vision and later to the phi phenomenon and/or beta movement, but the exact neurological causes are still uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic effect. While animators traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is usually based on programming paths between key frames to maneuver digitally created figures throughout a digitally created environment. Analog mechanical animation media that rely on the rapid display of sequential images include the ph\u00E9nakisticope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed. In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, the animation is also prevalent in video games, motion graphics, user interfaces, and visual effects. The physical movement of image parts through simple mechanics\u2014for instance moving images in magic lantern shows\u2014can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic automata were popularized by Disney as animatronics."@en . . . . . . . . . . . . . . "Animazio"@eu . . . . . . . . . . . . . "\u52A8\u753B\uFF08\u82F1\u8A9E\uFF1AAnimation\uFF09\u662F\u4E00\u79CD\u901A\u8FC7\u5B9A\u65F6\u62CD\u6444\u4E00\u7CFB\u5217\u591A\u4E2A\u9759\u6B62\u7684\u56FA\u6001\u56FE\u50CF\uFF08\u5E27\uFF09\u4EE5\u4E00\u5B9A\u9891\u7387\u8FDE\u7EED\u53D8\u5316\u3001\u8FD0\u52A8\uFF08\u64AD\u653E\uFF09\u7684\u901F\u5EA6\uFF08\u5982\u6BCF\u79D216\u5F20\uFF09\u800C\u5BFC\u81F4\u8089\u773C\u7684\u89C6\u89C9\u6B8B\u8C61\u4EA7\u751F\u7684\u9519\u89C9\u2014\u2014\u800C\u8BEF\u4EE5\u4E3A\u56FE\u753B\u6216\u7269\u4F53\uFF08\u753B\u9762\uFF09\u6D3B\u52A8\u7684\u4F5C\u54C1\u53CA\u5176\u5F71\u7247\u6280\u672F\u3002 \u5176\u753B\u9762\u7684\u5236\u4F5C\u65B9\u5F0F\uFF0C\u6700\u5E38\u89C1\u7684\u662F\u5728\u7EB8\u5F20\u6216\u8D5B\u7490\u73DE\u7247\u4E0A\uFF0C\u5176\u5B83\u7684\u88FD\u4F5C\u65B9\u5F0F\u8FD8\u5305\u542B\u4E86\u904B\u7528\u9ECF\u571F\u3001\u6A21\u578B\u3001\u3001\u6C99\u753B\u3001\u96FB\u8166\u7B49\u3002\u7531\u4E8E\u7535\u8111\u79D1\u6280\u7684\u8FDB\u6B65\uFF0C\u73B0\u5728\u4E5F\u6709\u8BB8\u591A\u5229\u7528\u7535\u8111\u52A8\u753B\u8F6F\u4EF6\uFF0C\u76F4\u63A5\u5728\u7535\u8111\u4E0A\u5236\u4F5C\u51FA\u6765\u7684\u52A8\u753B\uFF0C\u6216\u8005\u662F\u5728\u52A8\u753B\u5236\u4F5C\u8FC7\u7A0B\u4E2D\u4F7F\u7528\u7535\u8111\u8FDB\u884C\u52A0\u5DE5\u7684\u65B9\u5F0F\uFF0C\u8FD9\u4E9B\u90FD\u5DF2\u7ECF\u5927\u91CF\u8FD0\u7528\u5728\u5546\u4E1A\u52A8\u753B\u7684\u5236\u4F5C\u4E2D\u3002\u901A\u5E38\u52A8\u753B\u662F\u7531\u5927\u91CF\u5BC6\u96C6\u548C\u4E4F\u5473\u7684\u52B3\u52A8\u4EA7\u751F\uFF0C\u5C31\u7B97\u5728\u7535\u8111\u52A8\u753B\u79D1\u6280\u5F97\u5230\u957F\u8DB3\u8FDB\u6B65\u548C\u53D1\u5C55\u7684\u73B0\u5728\u4E5F\u662F\u5982\u6B64\u3002"@zh . . . . . . . . . . . "Animation"@el . . "vertical"@en . . . "Animation (audiovisuel)"@fr . . . . . . . . "Film animasi, atau biasa disingkat animasi saja, adalah film yang merupakan karya tangan (gambar) yang bergerak. Pada awal penemuannya, film animasi dibuat dari berlembar-lembar kertas gambar yang kemudian di-\"putar\" sehingga muncul efek gambar bergerak. Dengan bantuan komputer dan grafika komputer, pembuatan film animasi menjadi sangat mudah dan cepat. Bahkan akhir-akhir ini lebih banyak bermunculan film animasi 3 dimensi daripada film animasi 2 dimensi."@in . . . . . . . "\u041C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u044F (\u043E\u0442 \u043B\u0430\u0442. multiplicatio \u00AB\u0443\u043C\u043D\u043E\u0436\u0435\u043D\u0438\u0435, \u0443\u0432\u0435\u043B\u0438\u0447\u0435\u043D\u0438\u0435, \u0432\u043E\u0437\u0440\u0430\u0441\u0442\u0430\u043D\u0438\u0435, \u0440\u0430\u0437\u043C\u043D\u043E\u0436\u0435\u043D\u0438\u0435\u00BB), \u0438\u043B\u0438 \u0430\u043D\u0438\u043C\u0430\u0446\u0438\u044F, \u2014 \u0442\u0435\u0445\u043D\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u043F\u0440\u0438\u0451\u043C\u044B \u0441\u043E\u0437\u0434\u0430\u043D\u0438\u044F \u0438\u043B\u043B\u044E\u0437\u0438\u0438 \u0434\u0432\u0438\u0436\u0443\u0449\u0438\u0445\u0441\u044F \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u0439 (\u0434\u0432\u0438\u0436\u0435\u043D\u0438\u044F \u0438/\u0438\u043B\u0438 \u0438\u0437\u043C\u0435\u043D\u0435\u043D\u0438\u044F \u0444\u043E\u0440\u043C\u044B \u043E\u0431\u044A\u0435\u043A\u0442\u043E\u0432 \u2014 \u043C\u043E\u0440\u0444\u0438\u043D\u0433\u0430) \u0441 \u043F\u043E\u043C\u043E\u0449\u044C\u044E \u043F\u043E\u0441\u043B\u0435\u0434\u043E\u0432\u0430\u0442\u0435\u043B\u044C\u043D\u043E\u0441\u0442\u0438 \u043D\u0435\u043F\u043E\u0434\u0432\u0438\u0436\u043D\u044B\u0445 \u0438\u0437\u043E\u0431\u0440\u0430\u0436\u0435\u043D\u0438\u0439 (\u043A\u0430\u0434\u0440\u043E\u0432), \u0441\u043C\u0435\u043D\u044F\u044E\u0449\u0438\u0445 \u0434\u0440\u0443\u0433 \u0434\u0440\u0443\u0433\u0430 \u0441 \u0431\u043E\u043B\u044C\u0448\u043E\u0439 \u0447\u0430\u0441\u0442\u043E\u0442\u043E\u0439 (\u043E\u0442 12 \u043A\u0430\u0434\u0440\u043E\u0432 \u0432 \u0441\u0435\u043A\u0443\u043D\u0434\u0443 \u0434\u043B\u044F \u0440\u0438\u0441\u043E\u0432\u0430\u043D\u043D\u043E\u0439 \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u0438 \u0434\u043E 30 \u043A\u0430\u0434\u0440\u043E\u0432 \u0432 \u0441\u0435\u043A\u0443\u043D\u0434\u0443 \u0434\u043B\u044F \u043A\u043E\u043C\u043F\u044C\u044E\u0442\u0435\u0440\u043D\u043E\u0439 \u0430\u043D\u0438\u043C\u0430\u0446\u0438\u0438). \u041C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u043E\u043D\u043D\u043E\u0435 \u043A\u0438\u043D\u043E \u043D\u0430\u0440\u044F\u0434\u0443 \u0441 \u0438\u0433\u0440\u043E\u0432\u044B\u043C \u044F\u0432\u043B\u044F\u0435\u0442\u0441\u044F \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u044C\u044E \u0445\u0443\u0434\u043E\u0436\u0435\u0441\u0442\u0432\u0435\u043D\u043D\u043E\u0433\u043E \u043A\u0438\u043D\u043E."@ru . . . "1"^^ . . . . . . . . . . . . . . . . . . . . "L'animazione \u00E8 una tecnica che crea la percezione di movimento tramite immagini proposte allo spettatore in rapida successione temporale. L'effetto di percezione del movimento \u00E8 possibile, stando agli ultimi studi fisiologici e neurologici sulla percezione, grazie al meccanismo della \"short-range apparent motion\", ossia \"movimento apparente a corto raggio\". (Contrariamente a un mito duro a morire, l'animazione e pi\u00F9 in generale il cinema e il video, non sono basati sulla cosiddetta persistenza della visione o sul fenomeno phi, che sono concetti antiquati e fraintesi, nati rispettivamente nel diciannovesimo secolo e all'inizio del ventesimo secolo.)"@it . . . . . . . . . . . . . . . . . . "\u30A2\u30CB\u30E1\u30FC\u30B7\u30E7\u30F3\uFF08\u82F1\u8A9E: Animation\uFF09\u306F\u3001\u52D5\u753B\uFF08\u3069\u3046\u304C\uFF09\u3068\u3082\u547C\u3070\u308C\u3001\u30B3\u30DE\u64AE\u308A\u306A\u3069\u306B\u3088\u3063\u3066\u3001\u8907\u6570\u306E\u9759\u6B62\u753B\u50CF\u306B\u3088\u308A\u52D5\u304D\u3092\u4F5C\u308B\u6280\u8853\u3002\u9023\u7D9A\u3057\u3066\u5909\u5316\u3059\u308B\u7D75\u3084\u7269\u306B\u3088\u308A\u767A\u751F\u3059\u308B\u4EEE\u73FE\u904B\u52D5\u3092\u5229\u7528\u3057\u305F\u6620\u50CF\u624B\u6CD5\u3067\u3042\u308B\u3002\u7565\u8A9E\u306F\u30A2\u30CB\u30E1\u3002"@ja . . "\u0410\u043D\u0456\u043C\u0430\u0446\u0456\u044F"@uk . . . . . . . . "Animazioa irudi estatiko sorta bat bata bestearen atzetik agerraraziz, ikuslearengan irudi mugikorren ilusioa eragiten duen metodoa da, mugimendurik ez duten izaki edo marrazkiei mugimendua ezartzeko erabiltzen den teknika zinematografikoa. Honen adibide dira marrazki bizidunak, baina badira mota gehiago ere; stop motion delakoa edo konputagailu bidezko animazioa kasu. Izena latinezko \"animationem\" hitzetik dator, \"animare\" aditzaren partizipio burutua. Erranahia \"biziaraztearen ekintza\" litzateke. Animazioak sortzen dituen pertsonari animatzaile deritzo."@eu . "150"^^ . "\u041C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0438\u043A\u0430\u0446\u0438\u044F"@ru . . . . . . "center"@en . . . . . . . . . . . . . . . . "\u0410\u043D\u0456\u043C\u0430\u0301\u0446\u0456\u044F (\u0437 \u043B\u0430\u0442. anima \u2014 \u0434\u0443\u0448\u0430 \u0456 \u043F\u043E\u0445\u0456\u0434\u043D\u043E\u0433\u043E \u0444\u0440. animation \u2014 \u043E\u0436\u0438\u0432\u043B\u0435\u043D\u043D\u044F), \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0301\u0446\u0456\u044F (\u0437 \u043B\u0430\u0442. multiplicatio \u2014 \u0440\u043E\u0437\u043C\u043D\u043E\u0436\u0435\u043D\u043D\u044F, \u0437\u0431\u0456\u043B\u044C\u0448\u0435\u043D\u043D\u044F, \u0437\u0440\u043E\u0441\u0442\u0430\u043D\u043D\u044F) \u2014 \u0432\u0438\u0434 \u043A\u0456\u043D\u043E\u043C\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430, \u0442\u0432\u043E\u0440\u0438 \u044F\u043A\u043E\u0433\u043E \u0441\u0442\u0432\u043E\u0440\u044E\u044E\u0442\u044C\u0441\u044F \u0448\u043B\u044F\u0445\u043E\u043C \u0437\u043D\u0456\u043C\u0430\u043D\u043D\u044F \u043F\u043E\u0441\u043B\u0456\u0434\u043E\u0432\u043D\u0438\u0445 \u0444\u0430\u0437 \u0440\u0443\u0445\u0443 \u043D\u0430\u043C\u0430\u043B\u044C\u043E\u0432\u0430\u043D\u0438\u0445 (\u0433\u0440\u0430\u0444\u0456\u0447\u043D\u0430 \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u044F) \u0430\u0431\u043E \u043E\u0431'\u0454\u043C\u043D\u0438\u0445 (\u043E\u0431'\u0454\u043C\u043D\u0430 \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u044F) \u043E\u0431'\u0454\u043A\u0442\u0456\u0432. \u0426\u0456 \u0442\u0432\u043E\u0440\u0438 \u043D\u0430\u0437\u0438\u0432\u0430\u044E\u0442\u044C \u0430\u043D\u0456\u043C\u0430\u0446\u0456\u0439\u043D\u0438\u043C\u0438 \u0430\u0431\u043E \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0446\u0456\u0439\u043D\u0438\u043C\u0438 \u0444\u0456\u043B\u044C\u043C\u0430\u043C\u0438 (\u043C\u0443\u043B\u044C\u0442\u0444\u0456\u043B\u044C\u043C\u0430\u043C\u0438). \u041F\u0435\u0440\u0448\u0456 \u043C\u0430\u043B\u044C\u043E\u0432\u0430\u043D\u0456 \u0444\u0456\u043B\u044C\u043C\u0438 \u0431\u0443\u043B\u0438 \u0432\u0438\u043F\u0443\u0449\u0435\u043D\u0456 \u0432 1908 \u0443 \u0424\u0440\u0430\u043D\u0446\u0456\u0457, \u043E\u0431'\u0454\u043C\u043D\u0456 \u2014 \u0432 1911 \u0443 \u0420\u043E\u0441\u0456\u0457. \u041F\u0435\u0440\u0448\u0456 \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0446\u0456\u0439\u043D\u0456 \u0444\u0456\u043B\u044C\u043C\u0438 \u0432 \u0423\u0420\u0421\u0420 \u0437'\u044F\u0432\u0438\u043B\u0438\u0441\u044F \u0443 1927 \u0440\u043E\u0446\u0456 \u0443 \u0446\u0435\u043D\u0442\u0440\u0430\u043B\u044C\u043D\u0456\u0439 \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0446\u0456\u0439\u043D\u0456\u0439 \u043C\u0430\u0439\u0441\u0442\u0435\u0440\u043D\u0456 \u0432 \u041E\u0434\u0435\u0441\u0456: \u0412. \u041B\u0435\u0432\u0430\u043D\u0434\u043E\u0432\u0441\u044C\u043A\u0438\u0439 \u043F\u043E\u0441\u0442\u0430\u0432\u0438\u0432 \u00AB\u041A\u0430\u0437\u043A\u0443 \u043F\u0440\u043E \u0441\u043E\u043B\u043E\u043C'\u044F\u043D\u043E\u0433\u043E \u0431\u0438\u0447\u043A\u0430\u00BB, \u043F\u043E\u043A\u043B\u0430\u0432\u0448\u0438 \u0432 \u043E\u0441\u043D\u043E\u0432\u0443 \u0441\u0446\u0435\u043D\u0430\u0440\u0456\u044E \u0441\u044E\u0436\u0435\u0442 \u043F\u043E\u043F\u0443\u043B\u044F\u0440\u043D\u043E\u0457 \u043A\u0430\u0437\u043A\u0438, \u0430 \u0445\u0443\u0434\u043E\u0436\u043D\u0438\u043A \u0412. \u0414\u0435\u0432'\u044F\u0442\u043D\u0456\u043D \u0437\u0440\u043E\u0431\u0438\u0432 \u043C\u0443\u043B\u044C\u0442\u0438\u043F\u043B\u0456\u043A\u0430\u0446\u0456\u0439\u043D\u0443 \u043E\u0434\u043D\u043E\u0447\u0430\u0441\u0442\u0456\u0432\u043A\u0443 \u00AB\u0423\u043A\u0440\u0430\u0457\u043D\u0456\u0437\u0430\u0446\u0456\u044F\u00BB \u043F\u0440\u043E \u0432\u0438\u0432\u0447\u0435\u043D\u043D\u044F \u0443\u043A\u0440\u0430\u0457\u043D\u0441\u044C\u043A\u043E\u0457 \u043C\u043E\u0432\u0438."@uk . . . . . . . . . . . . . "L\u2019animation, dans le domaine de l\u2019audiovisuel, est un ensemble de techniques qui ont \u00E9t\u00E9 mises au point \u00E0 partir du XIXe si\u00E8cle, d'abord par la reprise du principe de la bande dessin\u00E9e et l'utilisation de proc\u00E9d\u00E9s optiques et m\u00E9caniques ne d\u00E9passant pas deux secondes dans leur repr\u00E9sentation (jouet optique, folioscope), puis, d\u00E8s 1892, par le perfectionnement de ces proc\u00E9d\u00E9s en permettant des dur\u00E9es de repr\u00E9sentation plus importantes, de une \u00E0 cinq minutes (Th\u00E9\u00E2tre optique) et par l'utilisation en 1906 de la prise de vues image par image sur un support lin\u00E9aire, la pellicule photographique (dessin anim\u00E9, animation en volume), et enfin, \u00E0 partir des ann\u00E9es 1970, par l'adoption de proc\u00E9d\u00E9s informatiques (animation par ordinateur, jeux vid\u00E9o). Ces techniques sont le r\u00E9sultat d'une recherche \u00E9tal\u00E9e sur plus d'un si\u00E8cle pour obtenir des ouvrages visuels ou audiovisuels donnant l'illusion que des dessins, des peintures, des objets inertes divers (sculptures, maquettes, poup\u00E9es, marionnettes, etc.) ou des images de synth\u00E8se, sont dou\u00E9s de mouvements et de d\u00E9placements propres, comme s'ils \u00E9taient vivants, d'o\u00F9 l'utilisation du terme \u00AB animation \u00BB (du latin animalis \u00AB anim\u00E9, vivant, animal \u00BB)."@fr . "Animacio (a\u016D movbildo) estas optika iluzio, truko de movo kreata per seriemontrado de statikaj elementoj. \u011Cenerale oni kreas \u011Din per desegnitaj movi\u011Dantaj bildoj; en tiu okazo eblas \u011Din nomi desegnofilmo. La vorto animacio devenas el la latina anima (animo). Filmo kreata el animacio estas animacia filmo, tamen oni ofte ne distingas inter \"animacio\" kaj \"animacia filmo\", kaj la vorto \"movbildo\" estas uzata por amba\u016D. Animacio laboras parte per belarta\u0135oj, parte per movbildoj. \u011Ci estas fakte truko, kiam la animaciisto kreas kaj movigas (vivigas, animas) figurojn, bildojn, desegnojn , diversajn materialojn (ekz.. sablo, papero, kneda\u0135o). En la klasika animacia filmo, la animaciistoj desegnis \u0109iun unuopan movon de la figuroj aparte kaj la sinsekva rapida prezento de la surigitaj fazaj bildoj prezentas la iluzion de la movi\u011Do. Tiu \u0109i procezo estas tro malrapida, do kompleta desegna filmo - ekz. filmo Ne\u011Dulino kaj la sep nanoj de Walt Disney - konsistas el pli ol unu miliono da unuopaj bildoj. Krom la desegna animacio estas konata anka\u016D kiel lum-, pentra\u0135animacio, emulzio-skrapita, papereltonda, duonplastika, piksilacia (vivantaj homoj movas kiel pupoj) animacio kaj per komputila tekniko produktita animacion."@eo .