Today i was told waht an animorph was, which is an animal morphed with another animal, also i was told about an humaniod which is an animal with human characteristic like an cenetor.

afternoon we drawed an bunch of different animal body parts shaped into human form but i did more of an animorph, the animals that i went were hawk cause it eye, gorilla cause it strengh, rhino cause it tuffness, dragon cause it awsomeness and wings, spider cause of multiple legs, lizard cause of its use of tail and cheater cause of its speed, i went with these animals because of their personal ablities.

Compared to a profinal example my is more awsomer...

FlyingBirdOctupusThing...

 

Anamorph & Humaniod

 

The word anamorph and its derivatives stem from the Greek words meaning formed again, due to reshaping the image onto the film or recording media or paper. The process of anamorphosing optics was developed by Herni Chretin during World war I to provide a wide angle viewer for military tanks. In the 1920s, phonograph and motion picture pioneer Leon F. Douglass also created special effects and anamorphi widescreen motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear. Anamorphic widescreen was not used again for cinematography until 1952 when Twentieth Century-Fox bought the rights to the technique to create its CinemaScope widescreen technique. The development of anamorphic widescreen arose due to a desire for wider aspect ratios. The modern anamorphic widescreen format has an aspect ratio of 2.40:1, meaning the picture width is 2.40 times its height, technically it is 2.39:1, but it is known professionally as 2.40:1 or "two-four-oh". Academy format 35 mm film standard non-anamorphic full frame with sound tracks in the image area has an aspect ratio of 1.37:1, which is not as wide or contrapositively, is taller.

There are two main types of anamorphosis: perspective, oblique and mirror, catoptric. Examples of perspectival anamorphosis date to the early Renaissance, 15th century. Examples of mirror anamorphosis were first created in the late Renaissance, 16th century.

With mirror anamorphosis, a conical or cylindrical mirror is placed on the drawing or painting to transform a flat distorted image into a three-dimensional picture that can be viewed from many angles. The deformed image is painted on a plane surface surrounding the mirror. By looking uniquely into the mirror, the image appears undeformed. This process of anamorphosis made it possible to diffuse caricatures, erotic and scatological scenes and scenes of sorcery for a confidential public.

Hans Holbein the Younger is well known for incorporating this type of anamorphic trick. His painting The Ambassadors is the most famous example for anamorphosis, in which a distorted shape lies diagonally across the bottom of the frame.


Another form of anamorphic art is often called Slant Art. Examples are the sidewalk chalk paintings of Kurt Wenner and Julian Beever where the chalk painting, the pavement and the architectural surroundings all become part of an illusion. Art of this style can be produced by taking a photograph of an object or setting at a sharp angle, then putting a grid over the photo, another, elongated grid on the footpath based on a specific perspective, and reproducing exactly the contents of one into the other, one square at a time.


Cinemascope, Panavision,Technirama and other widescreen formats use anamorphosis to poject a wider image from a narrower film frame.

The system of anamrphic projection can be seen quite commonly on text written at a very flat angle on roadways  such as "Bus Lane" or "Children Crossing" — which is easily read by drivers who otherwise would have difficulty reading as the vehicle approaches the text; when the vehicle is nearly above the text, its true abnormally elongated shape can be seen. On some 0.5 liter Sprite bottles in Europe, an extra bar code was present. When the bottle is tilted towards the mouth while drinking, the bar code resolves into writing due to the anamorphic effect.

Humanoid

 A humanoid is something that has an appearance resembling a human being. More generally, the term can refer to anything with uniquely human characteristics and/or adaptations, such as possessing opposable appendage (thumbs) or the ability to walk in an upright position.

 Humanoid Animation is an approved ISO (International Organisation for Standardisation) standard for humanoid modeling and animation defines a specification for defining interchangeable human figures so that those characters can be used across a variety of 3D games and simulation environments.

The Humanoid AnimationStandard was developed in the late '90s and was significantly influenced by the Jack human modeling system and the research of experts in the graphics, ergonomics, simulation & gaming industry.

A humanoid robot or an anthropomorphic robot is a robot with its overall appearance, based on that of the human body, allowing interaction with made-for-human tools or environments. In general humanoid robots have a torso with a head, two arms and two legs, although some forms of humanoid robots may model only part of the body, for example, from the waist up. Some humanoid robots may also have a face, with eyes and a mouth. Androids are humanoid robots built to aesthetically resemble humans.

Humanoid Animation figures are articulated 3D representations that depict animated characters. A single H-Anim figure is called a humanoid. While Humanoid Animation figures are intended to represent human like characters, they are a general concept that is not limited to human beings.

Currently there exist two types of H-Anim figures: Skeletal body geometry describes the body as separate geometric pieces and therefore can lead to artifacts. Skinned body geometry in contrast regards the body as a continuous piece of geometry. Therefore all point and normal vector data sets are defined in one place, in the 'kinCoord and skinNormal fields of the Humanoid Animation for allowing smooth mesh animations. In this tutorial only the latter, more natural looking type is described.

The skin field of the Humanoid Animation node contains the real mesh information, i.e. the Shape nodes, which define appearance and geometry of certain body parts like face or legs. As can be seen in the next code fragment, the Geometry's coord and normal fields only hold references to the Coordinates and Normals already defined in the skinCoord and skinNormal fields of the Humanoid Animation. This way a seemless animation is achieved both for the vertices and the normals without the need to recalculate the latter.