Convolution Demo. Below is a running demo of a CONV layer. Since 3D volumes are hard to visualize, all the volumes (the input volume (in blue), the weight volumes (in red), the output volume (in green)) are visualized with each depth slice stacked in rows. The input volume is of size W1=5,H1=5,D1=3W1=5,H1=5,D1=3W_1 = 5, H_1 = 5, D_1 = 3, and the CONV layer parameters are K=2,F=3,S=2,P=1K=2,F=3,S=2,P=1K = 2, F = 3, S = 2, P = 1. That is, we have two filters of size 3×33×33 \times 3, and they are applied with a stride of 2. Therefore, the output volume size has spatial size (5 - 3 + 2)/2 + 1 = 3. Moreover, notice that a padding of P=1P=1P = 1 is applied to the input volume, making the outer border of the input volume zero. The visualization below iterates over the output activations (green), and shows that each element is computed by elementwise multiplying the highlighted input (blue) with the filter (red), summing it up, and then offsetting the result by the bias.

systematize

Finally, I think Actions are great for animations, because you will definitely need to apply the same logic to many different elements. One of my favorite examples are FLIP animations, where a change in DOM position can be animated. For example shuffling a list of items. I will not dive deep into the topic in this article: I've written about some techniques in this article about FLIP animations in React and in this article about how to create spring animations with Web Animation API. Although they are not about Svelte, at the end of the day it all boils down to manipulating the HTML element directly. And Svelte Actions are a great place to do it.

animation in data visualization, while impressive and eye-catching, is a much lower priority than understanding how different chart types present data, how to properly design charts, understanding form in data visualization, and other aspects of data visualization practice.

Tailwind automatically removes all unused CSS when building for production

react-spring

Papagayo is free and open source, lip sync software for matching pre generated or custom mouth shapes to a recorded audio file for use in 2D animation. Its available on Windows, Linux, and Mac.

When did you start working on it and how long did it take to make? It took nearly four years from the first draft to final cut. The first script was complete in early 2014, which we then adapted into a picture storybook as a proof of concept. We received funding almost a year later and we hit the ground running full-time (into eternity).

SIGGRAPH: Share your top three technology tools. CC: I hate technology! But if you’re trying to make something pretty in this medium, there’s no avoiding it

SIGGRAPH: What is the best advice you would give someone starting out in animation? CC: Draw. Carry a sketchbook (or a tablet) and draw (or paint!) every chance you get. Make observations from the world around you, from photo or video reference, from artists you admire. Most importantly, don’t just observe, but put those observations down on paper in visual form. Make a habit of it. The things you learn that way will stay with you forever. And that knowledge will be useful no matter what medium you end up working in.

As a student, you have to be very good at the craft

Mitchell said, “You have to do what you want to do. Don’t make a film so you can get into Pixar or DreamWorks.”

Pete Doctor, the director of Up, said that he went into school thinking that he needed to learn how to draw and left school believing that acting and storytelling were more important.

Flash

This shift of weight is always in the opposite direction that you will ultimately be moving in. This is called anticipation.

| canvas point | canvas := DrGeoCanvas new. canvas fullscreen. point := canvas point: 0@0. canvas do: [ -5 to: 5 by: 0.1 do: [:x | point moveTo: x@(x cos * 3). (Delay forMilliseconds: 100) wait. canvas update] ]