RESEARCH PROPOSALDocument for evaluation by the research committee

By:Edgar dos Anjos Teixeira, M.Sc.

Dissertation Committee:Supervisor: Prof. Eurico Carrapatoso, PhD, FEUPCo-supervisors: Prof. Carlos Oliveira, M.Sc., FEUP Prof. Heitor Alvelos, PhD, FBAUP Prof. Sharon Strover, PhD, UT Austin

PortoSeptember 2011

UNIVERS ITY OF PORTODOCTORAL PROGRAM IN DIGITAL MEDIA Specialization in Audiovisual and Interactive Content Creation

S3D MOTION DESIGNIMMERSIVE AND EMOTIVE INPUTS INTO COMMUNICATION DYNAMICS

UNIVERS ITY OF PORTODOCTORAL PROGRAM IN DIGITAL MEDIA Specialization in Audiovisual and Interactive Content Creation

S3D MOTION DESIGNIMMERSIVE AND EMOTIVE INPUTS INTO COMMUNICATION DYNAMICS

RESEARCH PROPOSALDocument for evaluation by the research committee

By:Edgar dos Anjos Teixeira, M.Sc.

Dissertation Committee:Supervisor: Prof. Eurico Carrapatoso, PhD, FEUPCo-supervisors: Prof. Carlos Oliveira, M.Sc., FEUP Prof. Heitor Alvelos, PhD, FBAUP Prof. Sharon Strover, PhD, UT Austin

PortoSeptember 2011

IV DOC TOR AL PROGR AM IN DIGITAL MEDIA

ABSTRACT Trustworthy market and technology reports foresee a turning point in the near future of digital media, particularly propelled by the widespread proliferation of visualization systems capable of tangible depth simulation. Accordingly, profound transformations are expected in the way audiovisual content is conceived, produced and presented.

Compelling stereoscopic imagery is already reaching large audiences in cinemas equipped with stereoscopic projection. Furthermore, accelerated technological developments push for stereoscopic experience becoming commonplace in television sets, computer screens and even in mobile device displays in a short-term prospect.

Different media have distinct characteristics, which infl uences the perception of a given message, as stated by McLuhan: The medium is message. As a consequence an extensive diffusion of synthetic stereo viewing has direct implications in communications.

The latest developments in visualization technology are leading to transformations in the nature of multimedia, in turn affecting communication dynamics due to the new cognitive, immersive and alluring potentials implicated. Hence stereoscopic media signifi cantly alters literacy in Multimedia, especially in the branch of Motion Design.

Motion Design is a theoretic and technical discipline that has been pushing its way throughout digital media, increasingly mediating contemporary audiovisual communication. The incorporation of Communication Design paradigms in audiovisual content has permitted a more accurate control of the message conveyed, also enabling an elevated aesthetical quality.

Evolving as an autonomous discipline and composing a problematic of its own, Motion Design is becoming more and more intricate, however the perspectives of technological changes even increase this complexity with the necessity to assimilate stereoscopy, embracing the dimension of stereo depth and its technical, artistic and narrative particularities.

This research intends to investigate the role of stereoscopic viewing in shaping the perception of Motion Design. The scrutiny is specifi cally focused in typography, a basic graphic element, being engaged in assessing whether and how stereoscopic stimulation affects Motion Design in three communicational aspects: enhancing attention levels, reinforcing emotional response and stimulating sympathy.

Supported by canons of Motion Design and visual principles of stereoscopy, the investigation intends to generate a specially customized typographic animation to analyze viewers awareness intensity, emotional reaction and attitudinal disposition.

The assessment consists of tree distinct methods: 1st eye-tracking system detecting subjects point of attention; 2nd mood rating survey inquiring about subjects emotional reaction to video stimulus; 3rd activation theory of emotion is employed to appraise subjects facial expressions videotaped during experiment.

The fi ndings of this investigation are expected to generate new understanding about how stereography affects audiences immersion, emotional and attitudinal states in relation to motion graphics stimuli. Implications are explained for improving media education, enhancement of communication dynamics, and designing motion graphics experiments.

VS3D MOTION DESIGN

Keywords Media StudiesCommunication Studies, Media Effects, Media Determinism, Diffusion of Innovations, Visual Culture, Film Studies;

Technology

CGI, Computer-generated imagery, Imaging Technology, 3D Graphics, 3D Display Systems, Stereoscopy, Anaglyph;

Visual Arts

Design, Motion Graphics, Motion Design, Animation, Cinematography, Filmmaking;

Advertising

Persuasion Techniques, Advertising Assessment, Emotional Publicity;

VI DOC TOR AL PROGR AM IN DIGITAL MEDIA

CONTENTS ABSTRACT .............................................................................................. IVKEYWORDS ....................................................................................... V

ABBREVIATIONS .................................................................................VIIILIST OF PICTURES .................................................................................. XLIST OF DIAGRAMS ............................................................................XIVLIST OF TABLES ...................................................................................XV

1 INTRODUCTION 1

1.1 PREFACE .......................................................................................... 11.1.1 BACKGROUND ......................................................................... 21.1.2 OBJECTIVES OF THE INVESTIGATION .................................... 41.1.3 OUTLINE OF THE DISSERTATION ........................................... 6

1.2 RELEVANCE OF THE RESEARCH ................................................... 71.2.1 AUDIOVISUAL IN PORTUGAL ................................................. 71.2.2 STEREOSCOPY POTENTIALITIES ............................................. 81.2.3 CONTRIBUTIONS OF THE RESEARCH..................................... 9

1.3 MOTIVATIONS ............................................................................... 111.3.1 ACADEMIC ............................................................................ 111.3.2 PROFESSIONAL ..................................................................... 131.3.3 THEORETICAL ........................................................................ 13

2 STATE-OF-THE-ART 17

2.1 BRIEF HISTORY OF MOTION DESIGN ..........................................172.1.1 FIRST PERIOD ........................................................................ 182.1.2 SECOND PERIOD ................................................................... 182.1.3 THIRD PERIOD ....................................................................... 192.1.4 FOURTH PERIOD .................................................................... 19

2.2 SHORT HISTORY OF STEREOSCOPY ............................................202.2.1 FIRST PERIOD ........................................................................ 202.2.2 SECOND PERIOD ................................................................... 212.2.3 THIRD PERIOD ....................................................................... 212.2.4 FOURTH PERIOD .................................................................... 22

2.3 AVANT-GARDE MOTION DESIGN ................................................232.3.1 MOTION DESIGN IN FILM AND TV ...................................... 242.3.2 MOTION DESIGN IN INTERACTIVE MEDIA .......................... 262.3.3 MOTION DESIGN IN THE ENVIRONMENT ........................... 28

3 LITERATURE REVIEW 31

3.1 MOTION DESIGN ........................................................................... 31STEREOSCOPIC MOTION DESIGN .................................................. 35

3.2 MEDIA STUDIES ............................................................................38EXPERIMENTAL RESEARCH............................................................ 39

3.3 PERSUASION ................................................................................. 413.3.1 EMOTIONAL PERSUASION ................................................... 423.3.2 LOW-ATTENTION PROCESSING THEORY ............................ 42

3.4 COMMUNICATION ASSESSMENT ...............................................443.4.1 QUANTIFYING PERSUASION ................................................ 45

3.4.1.1 Mood Ranking .............................................................. 473.4.1.2 Eye tracking ................................................................ 483.4.1.3 Facial Expressions ........................................................ 49

2.4 CONCEPTUAL CONTEXT MAPPING .............................................50

VIIS3D MOTION DESIGN

4 METHODOLOGY 53

4.1 RESEARCH DESIGN .......................................................................534.2 PROBLEMATIZATION ....................................................................54

RESEARCH QUESTIONS .................................................................. 564.3 ASSUMPTIONS ..............................................................................57

4.3.1 HYPOTHESIS 1 ...................................................................... 584.3.2 HYPOTHESIS 2 ...................................................................... 58

4.4 RESEARCH SYSTEMATIZATION ...................................................594.4.1 TERTIARY LEVEL .................................................................... 614.4.2 SECONDARY LEVEL ............................................................... 624.4.3 PRIMARY LEVEL .................................................................... 63

4.5 CRONOGRAM ................................................................................64

5 PURSUED PUBLICATIONS 65

5.1 SAGE .............................................................................................65ANIMATION: AN INTERDISCIPLINARY JOURNAL ......................... 65

5.2 IEEE ................................................................................................65VISUALIZATION AND COMPUTER GRAPHICS ............................... 65

5.3 SPIE and IS&T ................................................................................65JOURNAL OF ELECTRONIC IMAGING ........................................... 65

REFERENCES 67

PROSPECTIVE REFERENCES ........................................................... 72METHODOLOGICAL AND BIBLIOGRAPHICAL NORMS ................. 72BOOKS ............................................................................................. 72THESIS AND DISSERTATIONS ......................................................... 73SERIAL PUBLICATIONS ................................................................... 74ARTICLES ......................................................................................... 74NON-BOOK MATERIAL ................................................................... 74ELECTRONIC DOCUMENTS (VARIOUS).......................................... 74WEBSITES ........................................................................................ 75

APPENDIX A 77

Survey: Impacts of S3D on content creation .......................... 77

VIII DOC TOR AL PROGR AM IN DIGITAL MEDIA

ABBREVIATIONS 3D Acronym for three-dimensional, often used to allude computer graphics using a representation of geometric data in a three-dimensional space, but also being employed to designate stereoscopic systems and stereoscopic imagery.

3D-TV Television set equipped with technology enabling stereoscopic visualization; the term is also used to refer broadcast channels transmitting stereoscopic audiovisual content.

A/V Audio Visual, used to allude to works including sound and visual components, the production or use of such works, or the technology employed in presenting them.

CGI Computer generated imagery.

DVB Digital Video Broadcasting, suite of internationally accepted open standards for digital television, devised by a group of European entities that play a key role in the A/V content value chain, notably Broadcasters, TV Producers, Telecom Operators and Consumer Electronics Manufacturers.

DVD Digital Versatile Disc, optical disk storage generally with a capacity of 4,7GByte. Especially used for storing digital video and audio, in particular digital movies.

EBU European Broadcasting Union, the EBU is an international association of broadcasters extending beyond Europe, aiming at promoting cooperation between broadcasters and facilitating the exchange of audiovisual content.

EPG Electronic Programming Guide, the EPG provides information concerning the contents and the scheduling of DVB streams.

ETSI European Telecommunications Standards Institute, this European body is officially responsible for standardization of Information and Communication Technologies (ICT) within Europe, including telecommunications, broadcasting and related areas.

HDTV High-definition television, refers to video broadcasted in a resolution significantly higher than traditional television systems.

ISO International Standards Organization, ISO is a non-governmental organization, constituting a network of the national standard institutes of 155 countries. The areas of intervention of ISO range from standards for traditional activities (e.g. agriculture or construction), through mechanical engineering, medical devices, to the newest information technology developments, such as the digital coding of audio-visual signals for multimedia applications.

MPEG Motion Picture Expert Group, working group of ISO/IEC responsible for the development of video and audio encoding standards.

IXS3D MOTION DESIGN

MVC Multiview Video Coding, amendment to H.264/MPEG-4 AVC video compression standard; developed to enables efficient encoding of stereoscopic video.

NVoD Near Video on Demand, NVoD is the term used to designate a service offered to end users, allowing them to request and start watching a movie located in a remote video server, but only at specific times of the day, as scheduled by the broadcaster.

PPV Pay Per View, PPV is one of the business models adopted within the digital television industry. This modality does not require the user to subscribe a monthly fee service. Rather, the user pays only the content or service he/she desires to watch.

R&D Research and Development, R&D is the abbreviation used to refer to research work.

S3D Stereoscopic 3D, specific term explicitly designating both computer generated imagery and live footage imagery conveying the illusion of depth in a three-dimensional space.

SDTV Standard Definition TV, SDTV refers to the transmission of digital TV signals having a spatial and temporal resolution comparable to those of regular TV broadcasting systems (PAL, NTSC, SECAM). Aspect ratio of SDTV is 4:3 and spatial resolution is usually 704 pixels per 480 lines.

SMPTE Society of Motion Picture and Television Engineers, the SMPTE is presently regarded as the most important body developing standards for the Television and Motion Picture industries. It carries out its goals by developing and publishing Industry Standards, Recommended Practices and Engineering Guidelines. It also promotes networking and dissemination of knowledge through its periodical scientific journal (the SMPTE Motion Imaging Journal) and by organizing several industry-driven and scientific conferences.

VoD Video on Demand, VoD is an interactive application that allows end-users to select and consume at their will, upon request, a certain audiovisual content. Usually the A/V content is a protected movie, which means that the service is paid. Different modalities, from the business point of view, can be implemented for payment purposes (monthly subscription, PPV, etc).

Web Web is the short term commonly used to designate the World Wide Web.

WWW World Wide Web - The WWW is the designation given to the infrastructure composed by all resources (content, computing, networking) available on the Internet.

X DOC TOR AL PROGR AM IN DIGITAL MEDIA

LIST OF PICTURES

P.01 - Real D branding, S3D Motion Design promotion of stereoscopic technology, pg. XVI

P.02 - Cupid Angling, 1918. Alleged fi rst feature-length color fi lm, pg. 1P.03 - The Jazz Singer, 1927. First feature sound fi lm with dialogue shots, pg. 1P.04 - Toy Story, 1995. First feature fi lm entirely produced with CGI, pg. 1P.05 - Panasonic high-end stereoscopic home entertainment system, pg. 2P.06 - Sharp PC-RD3D, fi rst Notebook PC Incorporating 3D LCD Monitor, pg. 2P.07 - Sharp prototype, mobile device including 3D display and 3D camera, pg. 3P.08 - Frame from "How to train your dragon", 2010. Stereography is likely to become a

specialty within Motion Design as much as in fi lm, pg. 3P.10 - Giraffentoast, a publicity agency that has intensely used motion graphics, pg. 4P.09 - Sobe in partnership with "Monster vs. Alliens", fi rst stereoscopic commercial

broadcasted in a USA Super Bowl interval , pg. 4P.11 - Dreamworks branding, example of 3D Motion Design powered with character

animation and stereoscopic techniques, pg. 5P.12 - Media, European Union support programme for the European audiovisual industry,

pg. 7P.13 - Leonardo da Vinci's illustration explaining stereoscopic vision [11], pg. 8P.14 - Visual cortex localiation at the back of the head, cerebral region responsible for

visualization, detecting colour, size, orientation, motion, texture and S3D [12], pg. 8

P.15 - Philips' WOWvx display projects 3D images without glasses, pg. 9P.16 - Evaluating the impacts of stereoscopic media constitutes a latent issue in

communications, pg. 10P.17 - Philips 3DTV ad, the dissemination of the stereoscopic technology is impeling

several researchs, pg. 11P.18 - Kingston Univesity currently offers a M.A. in Motion Graphics, pg. 11P.19 - New York University presently offers a M.Sc. in Digital Imaging and Design, which

incorporates Motion Design, pg. 12P.20 - Spacial transformations, Krasner, 2006 [1]. Studies on the language of kinetic

typography, pg. 12P.21 - The three screens: PC, TV and mobile. Upcoming developments in displays

technology are going to infl uence great chances in digital media, pg. 13P.22 - Robert Heath, author of a theory proposing that creativity and emotion are what

makes propaganda successful, pg. 15P.23 - Samsung large-scale commercial 3D-Outdoor projection in the Amsterdam,

Netherlands., pg. 16P.24 - Chauvet Cave, France, 25000 BC. Bison drawn with eight legs arguable attempt to

depict motion, pg. 17P.25 - Beni Hasan tomb, Egypt, 2400 BC. Sequencial images depicting in detail wrestling

techniques, pg. 17P.26 - The Hand of the Violinist, 1912 by Giacomo Balla prominent member of Futurism

in Italia, pg. 17P.27 - Zoetrope, 1834. One of the earliest precursors of motion pictures, pg. 18P.28 - The Rat Swallower, 1920. Primitive cartoon projected with magic lantern, pg. 18P.29 - Horse in Motion, Muybridge, 1872. Experiment credited as the precursor of motion

pictures, pg. 18P.30 - Felix the Cat, 1919. First animated character with a recognizable personality, pg. 18P.31 - Tusalava, 1929 by Len Lye a precursor of kinetic art, pg. 19P.32 - Polka Graph,1952 by Mary Ellen Bute a pioneer experimental animator, pg. 19P.33 - North by Northwest, 1959. Film title design by Saul Bass, pg. 19P.34 - PBS: Public Broadcasting Service, network branding, 1971, pg. 19P.35 - Sony Pictures Animation branding, 2009 all-type Motion Design, pg. 19P.36 - Refl ecting mirror stereoscope, 1838 conceived by Sir Charles Wheatstone, pg. 20P.37 - Stereoscopic camera used for "The Power of Love" fi rst commercial 3D fi lm, pg. 20P.38 - Poster of 'Bwana Devil', 1952. First color stereoscopic feature movie, pg. 21P.39 - Scene from 'House of Wax', 1953. One of the fi rst 3D features with stereo sound,

pg. 21

XIS3D MOTION DESIGN

P.40 - Poster of 'Wings of Courage', 1995. First IMAX 3-D fi ction fi lm, pg. 21P.41 - Poster of 'We Are Born of Stars', 1985. First nonfi ction IMAX S3D fi lm, pg. 22P.42 - Frame from 'Monsters vs. Aliens' 2009. Example of depth fi eld exploitation, pg. 22P.43 - Frame from 'Avatar', 2009. Praized as a breakthrough in live action / CGI productions,

pg. 22P.44 - Sony 3D HDTV stereoscopic ad, live action footage, pg. 23P.45 - TMN S3D ad, hybrid live action / CGI production, pg. 23P.46 - IMAX Theatre S3D branding, entirely CGI production, pg. 23P.47 - Nickelodeon, network branding, Motion Design project employing only

tridimensional character types, pg. 23P.48 - 'Legend of the guardians' 2010. Opening sequence including titles and producers

branding, pg. 24P.49 - 'Barne TV' branding bumper, use of 3D animation is increasily common in

audiovisual communication, pg. 25P.50 - Leo Burnett, site homepage, 2011. Interactive tridimensional elements are more

and more used in interface design, pg. 26P.51 - Tostitos ad in Vimeo website, vanguardist approach attempting to transcend

traditional WEB interface paradigms, pg. 27P.52 - McDonald's digital billboard at Piccadilly Circus, London. The ad invites the public

to interact by offering different funny backgrounds for photos , pg. 28P.53 - Samsung large-scale promotional 3D outdoor projection in Amsterdam,

Netherlands, pg. 29P.54 - Literature, 2007 by James Koehnline, pg. 30P.55 - Stills from 'True Lies' title sequence, conceived by acclaimed designer Kyle Cooper,

pg. 31P.56 - Gestalt principles explained various visual perception processes, such as the

phenomenon of emergence which occurs in this fi gure, pg. 32P.57 - Some frames illustrating one of the experiments performed in the investigation

"Motion gestalt for screen design: applied theory of grouping principles for visual

motion integrity" by Kim, 2009 [30], pg. 32P.58 - Example of visual sequence of text in motion graphics (Woolman; Bellantoni,

2000) [29], pg. 33P.59 - Ilustrative use of type characters to express the meaning of a concept. (Hostetler,

2006) [43], pg. 33P.60 - Kinetic type is largely employed in audiovisual communication, as seen in this

television commercial for the Audi A6, 2005., pg. 34P.61 - Real D stereoscopic advertising employing motion graphics both as informational

and aesthetical compositional elemets, pg. 35P.62 - Monsters vs. Aliens, 2009. Animation studios are leading the artistic and technical

development of stereoscopic content, pg. 35P.63 - Exploitation of perspective is an important way to manipulate space depth as

illustrated by Woolman; Bellantoni, 2000 [29], pg. 36P.64 - Monsters vs. Aliens, 2009. fi rst feature fi lm directly produced in a stereoscopic

3-D format. Projecting objects towards the audience is a recurrent way to explore

depth clues elicited by stereoscopy, pg. 37P.65 - S3D motion graphics created for Portuguese telecom TMN and presented in

cinema theaters, pg. 37P.66 - Composition presenting some of the subjects involved in Media Studies, pg. 38P.67 - Lee [58] Kinetic Typography Examples. Frames above use bolding, pacing, and size

to denote an urgent tone, meanwhile frames bellow depict a calmer mood, pg. 39P.68 - Stone; et al. [48]. First image is the static stimulum, the other images are frames

extracted from the kinetic type sequence, pg. 39P.69 - Bobo doll experiment. Bandura's famous investigation on media effects indicated

that individuals acquire attitudes, emotional responses, and new styles of conduct

through audiovisual content, pg. 39P.70 - A model of experimental design by Sanderson [60] , pg. 40P.71 - MTV has massively employed motion graphics in order to convey its messages in

innovative with intensely emotional approaches, pg. 41

XII DOC TOR AL PROGR AM IN DIGITAL MEDIA

P.72 - According to the low attention theory text information exerts much less infl uence

than images, pg. 42P.73 - Lynetter, 2006. Simultaneous multiple media consumption is a common trend in

modern times, pg. 43P.74 - BMW Pre-Owned ad. Emotional content frequently prevails over informational

elements in today's advertising, pg. 45P.75 - MTV broadcast branding has intesively exploited subjective emotional content,

pg. 45P.76 - Stereoscopic typography can at the same time be eye-catching, stirring and

informational, pg. 46P.77 - Customized mood rating (right) and visual stimulus (left), by Lee; et al. [42], pg.

47P.78 - The Hurdles of the Persuasion Process, source: Myers, 2010 [55], pg. 48P.79 - According to the "James-Lange theory of emotion" involuntary refl exes are not

only an indicator of emotion but also their cause, pg. 49P.80 - Experiment: Type in Motion by Stone; et al., 2006 [48]. Animated type stimulated

engagement and amusement (above), meanwhile static text (below) educed a

more neutral response., pg. 49P.81 - Nautilus shell, common representation of the funneling spiral method applied in

research designing , pg. 52P.82 - SYFY Kids ad. Example of brand typographic characters used to convey a funny

mood, pg. 54P.83 - Samsung 3D LED TV Advertising, 3D displays educe a whole new dimension for

audiovisual content creation, eliciting a series of communicational potentialities, pg. 56

P.84 - Pixar animation studios, company vanguardist in the use of 3D as a storytelling

tool, pg. 59P.85 - UP, 2009. Production intensely employed stereoscopy in narrative, pg. 59

XIIIS3D MOTION DESIGN

XIV DOC TOR AL PROGR AM IN DIGITAL MEDIA

LIST OF DIAGRAMS

D.01 - Chart from "3D Display Technology and Market Forecast Report" [4] performed

by DisplaySearch, illustrates the expectation of an escalating diffusion of 3D

displays, pg. 2D.02 - Chart obtained in the "Study of Continuous Training for Audiovisual Professionals

in 32 European Countries" [10] denotes a poor training structure in Portugal, pg. 7D.03 - A prospect performed by Carat [14], a leading communication company, indicates

a great upturn in digital media consumption in a short-term horizon, pg. 11D.04 - A Rhizome "Map" Of Visual Communication. Analytical approach identifying and

classifying the transdisciplinary relations pertinent to Visual Communication.

Smith, Ken; et al, 2005 [17], pg. 14D.05 - Chart extracted from the "How Much Information?", 2009 Report on American

Consumers [18], depicting changes in media consumption over the last decades, pg. 14

D.06 - Investigative universe illustrating multidisciplinary interactions between major

scholarships in the scope of the investigation., pg. 50D.07 - The Research Wheel depicting the process of investigation, extracted from

Rudestam & Newton, 2001 [35], pg. 53D.08 - 3D Display Market Forecast by Small to Medium-Size, extracted from Displaybank's

"3D Technology and Market Forecast, 2008" [41], pg. 59

XVS3D MOTION DESIGN

LIST OF TABLES

T.01 - Prospect on 3D display implementation, extracted from Displaybank's "3D

Technology and Market Forecast, 2008" [41], pg. 59

P.01 - Real D branding, S3D Motion Design promotion of stereoscopic technology

I N T R O D U C T I O N

1S3D MOTION DESIGN

1 INTRODUCTION1.1 PREFACEPresently, audiovisual media is being transformed by stereoscopic visualization, hence inducing a number of communicative implications. This research endeavors to look into the latent communicational potentialities prompting from the foreseen Age of Stereoscopic 3D. The investigation scrutinizes whether and to what extent stereography can improve the perception of typographic elements within Motion Design.

History revels that dramatic changes prompted by intellectual, artistic and technological developments have been periodically occurring in communication media, which are invariably accompanied by new paradigms. Those transformations have signifi cant repercussions in aesthetics, affecting visual strategies for educating, entertaining, informing and persuading broad audiences.

Regarding specifi cally audiovisual media, different technological advancements have been responsible for innovative improvements, for instance in storytelling, cinematography, and propaganda. The advent of technologies enabling the employment of elements such as sound, color, and computer graphics have deeply infl uenced the way audiovisual content is conceived, produced and presented, ultimately affecting visual culture given the signifi cance of motion as a communicative means.

Due to its communicative expressiveness, moving images have been adopted extensively and intensively by Communication Design, consequently generating the subset of Motion Design and generating the necessity of a specifi c literacy, as stated by Krasner, 2006 [1]:

Motion is becoming a principal part of our contemporary visual landscape with integrative technologies merging television, the Internet and immersive environments Designing in time and space presents a set of unique, creative challenges that combine the language of traditional graphic design with the dynamic visual language of cinema into a hybridized system of communication.

Meanwhile digital media has prompted a world permeated by displays, Motion Design has suitably responded to the demand for concise, fast and meaningful messages, becoming a signifi cant means of delivering communication.

Since 3D displays are currently evolving at an accelerated pace and as its widespread diffusion is expected to occur in a short-term prospect, Motion Design must deal with the incorporation of stereoscopic imagery.

Stereoscopic systems are going to be remarkably important in communications near future, posing critical issues particularly related with visualization and perception.

P.02 - Cupid Angling, 1918. Alleged fi rst feature-length color fi lm

P.03 - The Jazz Singer, 1927. First feature sound fi lm with dialogue shots

P.04 - Toy Story, 1995. First feature fi lm entirely produced with CGI