5.5 10 Animation ...
Track designates a passive length-oriented loading space on to which the Transporter loads and unloads parts. This is especially handy for modeling a CrossSlidingCar and other types of materials handling equipment. You can also enter Controls and define Sensors. In addition, you can select the Direction of the animation line. The orientation of the MU depends on the orientation of the animation line in 2D and in 3D.
5.5 10 Animation ...
The animation on the length-oriented loading space requires an animation line. As Plant Simulation does not create the animation line automatically, you have to create it in the icon of the object. For vector graphics we defined the animation line, you cannot change it. The Length of the loading space is independent of the MU length of the Transporter proper.
Line designates an active length-oriented loading space similar to a conveyor being part of the loading space, which transports the loaded parts forwards or backwards. The CrossSlidingCar makes extensive use of this type of loading space. In addition, you can select the Direction of the animation line. The orientation of the MU depends on the orientation of the animation line in 2D and in 3D.
Another feature that I found interesting that can also be controlled in this configuration file is the sliding animation shown when clicking on the vSphere Inventory Navigator. This I assume is to reduce the amount of resources loading the animation, unless the animation was bothering some folks?
The most basic animated effects in CSS can be achieved through properties like transform and transition. However, the CSS Animations Level 1 working draft provides a more complex environment by utilizing animation and @keyframes properties to achieve perpetual animation effects. This is best understood through a definitive example.
The @keyframes rule is used to specify the animation behavior we wish to apply to an animation identifier in the page layout. The identifier is specified through animation-name or by using the animation: name; shorthand.
In this context, the example above will change the background-color from white to black over the duration of the animation. from refers to the beginning (0%) and to refers to the end (100%). So, the rule can also be rewritten with percentage values.
The wave animation is created by first drawing an SVG path for a wave pattern and then assigning an ID to it. Afterward, we specify four nth-child classes with custom animation-delay and animation-duration variables. Each variable represents an individual wave inside the animation, and each wave can be styled independently.
This loading effect is relatively easy to implement because it uses only a handful of practical animation properties. First, you want to specify content: attr() value which you then apply to the text element you wish to animate. Afterward, you specify the animation itself, which in our case is animation: loading 5s linear infinite;.
The duration of the loading effect can be modified by changing the 5s property. And lastly, we use @keyframes to call the loading animation and change its width from 0% to 100% over that 5s period. The higher the value of animation duration, the slower the loading effect.
Two notable properties we use in this class are opacity: 0.5; and animation: ease-out;. The opacity is what creates the illusion of having ripples/pulse, and the ease-out transition makes those ripples ease out of the original container.
Next, we take our .circle class and apply to it the nth-of-type() property. For this example, we are using 3 individual circles which ease out of the original container. Inside nth-of-type calls, we apply animation-delay with the values of -0.5s;-1s;-1.5s. The higher the negative value the longer it will take for the effects to fully render.
And lastly, we apply @keyframes to our specified pulse animation. In this example, we utilize the transform: scale() property. This defines the size of the pulses for each animation. The higher the value, the larger the outgoing ripples are going to appear.
The last step is to write our specifications for the animation to render. In our demo, we count from 1 to 10, so we specify our @keyframes value from 0% to 100% in 10% increments. Each increment contains a counter-increment statement that also uses our counter-name: counter-increment: count 0;.
Next, we specify the size of the ball and style of its appearance using a combination of background colors and shadow effects. In our demo, we have gone for a more glowy effect, but you can modify this to your own needs. And finally, we specify the animation, in this case, we set a duration to 5s and also apply ease-in-out which means the transition has both a slow start and an end.
The last part is to add a shadow, although you can remove this also since it will have no effect on the ball animation itself. The only difference with the shadow is that we use the transform: scale() property to resize the shadow in a 2D context. We set the values according to the scale of effect we wish to accomplish.
What I love about this animation is that we can set an incredibly precise rotation radius to achieve an effect that feels like the coin is genuinely flipping. So, to get started you will need 2 images (I am using SVG for this demo, but normal photos work just as fine. Just make sure to apply the correct class to each image.) and set them to opacity: 0;. We set it to 0 because later on, we use @keyframes to change their opacity so the images come into the view at certain positions during the animation.
To make this animation work, we use the animation: ease-out; function in combination with a negative position value inside @keyframes. So, in this example we specify 0% opacity: 0;left: -700px; which makes our slide-in element invisible at the beginning, but also positioned 700px outside the container.
Afterward, we specify 100% opacity: 1;left: 0; which by the time our animation is over (we have it set to 2 seconds) will return normal visibility, and position our element back to its relative position.
If you want to change the slide-in effect to appear from the right side, you need to change the left:; values to right:; and vice-versa for positions like top and bottom. You can also delay the animation by adjusting how long it takes for the element to slide-in.
The animation itself is achieved by using transform: rotate() property inside a @keyframes specification. We set it to 0 to 360 degrees because this gives us a perpetual effect. The color overlay is done through :hover and lets us set a custom background color. And, additionally, we also create a separate container inside the blob itself. This gives you the ability to style individual parts of your page layout to have this specific animation effect.
The first thing we do is create a container for the actual effect. After, we specify a new div class that is going to contain the animation logic. In our case, we use an 8s animation length, combined with 3 separate animation-delay specifications.
Osmosis Jones is a 2001 American live-action/animated action comedy film written by Marc Hyman. Combining live-action sequences directed by the Farrelly brothers and animation directed by Piet Kroon and Tom Sito, the film stars the voices of Chris Rock, Laurence Fishburne, David Hyde Pierce, Brandy Norwood, and William Shatner alongside Molly Shannon, Chris Elliott, and Bill Murray in live-action roles. It follows the title character, an anthropomorphic white blood cell, as he teams up with a cold pill to protect his unhealthy human host from a deadly virus.
The film premiered on August 7, 2001, and was released theatrically three days later. It received mixed reviews from critics, who praised the world building, the animation, story, and voice performances, but criticized the inconsistent tone of the live-action portions and overuse of gross-out humor. The film was also a commercial failure, grossing $14 million worldwide against a $70 million budget. Despite the poor financial response, the film was followed by the animated television series Ozzy & Drix, which aired on Kids' WB from 2002 to 2004.
The animated parts of Osmosis Jones were praised for their plot and fast pace, in contrast with the criticized live action segments. Robert Koehler of Variety praised the film for its animated and live-action segments intervening, claiming it to be "the most extensive interplay of live-action and animation since Who Framed Roger Rabbit". The New York Times wrote "the film, with its effluvia-festival brand of humor, is often fun, and the rounded, blobby rendering of the characters is likable. But the picture tries too hard to be offensive to all ages. I suspect that even the littlest viewers will be too old for that spit." Roger Ebert gave the film 3 out of 4 and wrote: "Likely to entertain kids, who seem to like jokes about anatomical plumbing. For adults, there is the exuberance of the animation and the energy of the whole movie, which is just plain clever."
The use of gross-out humor in the film's live-action sequences, as seen in most films directed by the Farrelly brothers, was widely criticized. As such, Lisa Alspector of the Chicago Reader described the film as a "cathartically disgusting adventure movie". Maitland McDonagh of TV Guide praised the film's animation and its glimpse of intelligence although did criticize the humor as being "so distasteful". Lisa Schwarzbaum of Entertainment Weekly felt that the film had a diverse premise as it "oscillates between streaky black comedy and sanitary instruction"; however the scatological themes were again pointed out. Jonathan Foreman of New York Post claimed Osmosis Jones to have generic plotting, saying that "It's no funnier than your average grade-school biology lesson and less pedagogically useful than your typical Farrelly brothers comedy." Michael Sragow of Baltimore Sun praised David Hyde Pierce's performance as Drix, claiming him to be "hilarious" and "a take-charge dose of medicine". 041b061a72