Kes Pecah Kereta di Jusco Bukit Tinggi

Salam semua, entri kali ni nak berpesan supaya berjaga2 kpd sesiapa yg biasa pegi shopping dkt Jusco Bukit Tinggi, Klang. Kejadian ni berlaku pada 12/1/2010 antara pukul 3 ke 5 petang., bukannya 3 pagi!.. Kereta myvi aku yg dipinjam oleh kawan karib aku, Jerry Simon telah dipecah tingkap pada bhgn pintu belakang penumpang sblh kanan...parking pulak dah la dkt area pintu masuk, hari siang pulak tu....tu pun blh kene pecah. Nak wat camne..dah takdir, benda nak jadi...

Lokasi kejadian

Barang yg hilang, baju uniform polis ngan baju2 lain yg nak dihantar dobi....klu si penyamun ni menyamar pkai baju polis yg dicuri tu lg la...

Kaca bertebaran di atas jalan

Pintu xleh tutup rapat

Kesan cungkil jelas kelihatan

Serpihan kaca yg masuk ke celah pintu

Kereta masih dalam kawasan parking berbayar

Sampai skrg x tau lg sapa pencurinya...dah parking elok2 dah dlm kawasan berbayar milik jusco sendiri...tapi sorang guard pun takde di lokasi kejadian (katanya tak cukup org). Jaga-jaga skit lps ni kwn2 semua... kalau boleh, parking dkt dgn kawasan yg ade cctv...ade jaga pun x blh bagi harapan yg tinggi...

Claymation

Clay animation is one of many forms of stop motion animation; specifically, it is the form where each animated piece, either character or background, is "deformable", i.e. a malleable substance, usually plasticine clay.

The term "Claymation" is also used to describe clay animation. Though a registered trademark created by Will Vinton in 1978 to describe his clay animated films, the portmanteau claymation has entered the English language as a common term, called a genericized trademark.

All animation is produced in a similar fashion, whether done through traditional cel animation, stop-motion, or CGI. Each frame, or still picture, is recorded on film or digital media and then played back in rapid succession. When played back at a frame rate greater than 10-12 frames per second, a fairly convincing illusion of continuous motion is achieved.

Transformers - Stop Motion Animation

"transformers" - using stop motion animation, one of the animation technique.

History of Animation - Before Disney

A forerunner of today's comic strip can be found in an Egyptian wall decoration circa 2000 B.C. In successive panels it depicts the actions of two wrestlers in a variety of holds. In one of Leonardo da Vinci's most famous illustrations, he shows how the limbs would look in various positions. Giotto's angels seem to take flight in their repetitive motions. The Japanese used scrolls to tell continuous stories.

Since the beginnings of time, human beings have tried to capture a sense of motion in their art. From the eight-legged boar in the Altamira caves of Northern Spain to paintings alongside the remains of long-dead pharoahs, this quest for capturing motion has been a common theme throughout many of mankind's artistic endeavors.

True animation cannot be achieved without first understanding a fundamental principle of the human eye: the persistance of vison. This was first demonstrated in 1828 by Frenchman, Paul Roget, who invented the thaumatrope (left, click to stop). It was a disc with a string or peg attahced to both sides. One side of the disc showed a bird, the other an empty cage. When the disc was twirled, the bird appeared in the cage. This proved that the eye retains images when it is exposed to a series of pictures, one at a time.

Two other inventions helped to further the cause of animation. The phenakistoscope, invented by Joseph Plateau in 1826, was a circular card with slits around the edge. The viewer held the card up to a mirror and peered through the slits as the card whirled. Through a series of drawings around the circumference of the card, the viewer saw a progression of images resulting in a moving object. The same technique applied to the zeotrope. In 1860, Pierre Desvignes, inserted a strip of paper containing drawings on the inside of a drumlike cylinder. The drum twirled on a spindle, and the viewer gazed through slots ot the top of the drum. The figures on the inside magically came to life, endlessly looping in an acrobatic feat.

The development of the motion camera and projector by Thomas A. Edison and others provided the first real practical means of making animation. Even still, the animation was done in the simplest of means. Stuart Blackton, issued a short film in 1906 entitled Humourous Phases of Funny Faces where he drew comical faces on a blackboard, photographed them, and the erased it to draw another stage of the facial expression. This "stop-motion" effect astonished audiences by making drawings comes to life.

In the early twenties, the popularity of the animated cartoon was on the decline, and movie exhibitors were looking elswhere for alternative entertainment media. The public was tired of the old formula of stringing sight gags together without including a story line or any character development. What the art of animation could accomplish was not yet evident in this period, except for in the works of Winsor McCay such as Gertie the Dinosaur, 1914. Mccay's major accomplishment was the fact that he had developed a character in his dinosaur, something that had previously only been seen in Otto Messmer's, Felix the Cat. McCay's piece had a galvanizing effect on audiences. The notion of a dinosaur coming to life on the screen was astonishing. Of all the early animations, Felix the Cat developed the strongest screen personality, but failed to develop any further, relying on crude visual tricks to entertain the audience as opposed to developing a stronger screen persona.