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PurposeThe paper aims to fill this gap by positing a framework that considers the service automation decision as a matter of knowledge management: a choice between human resident and codified knowledge assets.Design/methodology/approachThe paper is a conceptual paper, grounded in the knowledge-based view.FindingsThe paper uses the information processing theory, which argues that the level of uncertainty in a process should dictate the type of knowledge deployed, as the contingency for the automation choice, and customer interaction uncertainty as the driver of that contingency. From these ideas, propositions are generated relating customer interaction uncertainty and service automation. Further implications for artificial intelligence (AI) are also explored.Originality/valueThe framework illuminates and informs the strategic choices regarding service automation, including the use of AI in professional services, a timely and highly important topic. It offers a valuable model for practitioners and contributes to the academic literature by pointing the way for future directions for scholarly research.

A training ecosystem leverages multiple complementary instructional resources to target competency and skill development. In this paper, we introduce work that is integrating assessment functions in the Generalized Intelligent Framework for Tutoring (GIFT) with core components in the Total Learning Architecture (TLA) to support persistent performance tracking and reporting in dynamic simulation-based environments. This capability creates a data strategy to translate multi-modal raw data into contextualized statements of performance for use in a long-term readiness monitoring strategy. In this paper we discuss the integration activities, what this new extended architecture supports, and provide a high-level use case associated with infantry squad level competency sets.

One of the major new features in After Effects CS3 is the introduction of the Puppet Tools. These provide a new way to warp layers, including shape and text layers created inside After Effects. Applications include creating character animation or just imparting fun movement to otherwise inanimate objects.

When images are captured on film or video, objects that are moving appear blurred, while static objects appear sharp. This is due to the fact that the camera is capturing samples of time, and the camera shutter is kept open for some of that time. The faster the object moves, the more distance it will cover while the shutter is open, and the less distinct the image. This motion blur makes for smoother motion and is a quality often lacking in computer-generated animation.

By now, you should know how to build a comp and how to animate layers, so let's step up to working with multiple layers efficiently. This chapter covers shortcuts and tips for managing and replacing layers, creating markers and snapshots, and editing images in their original application.

Much has been written concerning fuzzy theory in recent years. To the uninitiated, and to many of the initiated as well, the picture which emerges may appear unclear and often contradictory. This is frustrating, but not surprising. The following attempts to clarify some of the more befuddling aspects of fuzzy theory by presenting a representation of fuzzy theory and its relation to classical theory, illuminating semantic interpretations of fuzzy theory, discussing the assumption of burden of proof in fuzzy theory arguments by providing a trial law analogy, and concluding with a view toward the broad implications of fuzzy theory.

One of After Effects' strengths is that you don't have to pre-render anything: All of your sources, layers, and manipulations are “live” all the time, allowing you to make unlimited changes. However, calculating everything all the time can slow down both your work and your final render. Newer versions of After Effects have gotten much better about internally caching the results of comps and frames it calculates (especially if you enable Preferences > Memory & Cache > Enable Disk Cache), but you will still find yourself spending a lot of time waiting.

After Effects features a variety of settings that control importing files, opening multiple compositions, previewing audio, the appearance and interactivity of the program, plus numerous other details. In this chapter, we'll give an overview of what these settings mean and what they do, highlighting those settings that we find aid our efficiency.

Reality is fine, but it's not always what you want. Sometimes you need a captured movie to play back more quickly, more slowly, or backward, or to stop altogether. After Effects has options to Time Stretch a clip, which gives it a new constant speed, or Time Remap it, which allows the speed to change over time. Both often result in staggered motion compared with the original clip, so at the end of this chapter we will discuss Frame Blending which can help smooth out the result.

After Effects has never made audio one of its strong points. If you need to seriously rework a soundtrack, do it in a dedicated audio program. But if you just need to edit, mix, and do some basic improvement or “sweetening” to your sound track, After Effects already has the tools you need.

N o layer or composition is an island – at least, not in complex animations. In this lesson, you will learn how to group layers and build composition hierarchies, making it easier to create and manage complex animations. First up will be parenting, where one layer's animation can influence that of others. After that we'll work with nesting and precomposing compositions: ways to bundle together layers, keyframes, and effects into one comp and treat the result as a single layer in another comp.

F rom opening titles to closing credits, bullet points to lower thirds, and conveying information to creating abstract backgrounds, one of the most common elements in motion graphics is the use of text. Fortunately, After Effects has a very powerful text engine – but it's hardly the most intuitive tool in the world. In this lesson, we'll show you how to professionally typeset text, then animate it in interesting ways.

I n this lesson, you will work through a number of easy exercises to help build your animation skills. Along the way, you will become familiar with working in the After Effects Graph Editor, applying Keyframe Assistants, and taking maximum advantage of a layer's Anchor Point. We'll also show you advanced tricks such as using Motion Sketch to hand-draw your animation path, using Roving Keyframes to maintain smooth speed changes over complex paths, the best approach for “motion control” style movements, and the crucial component needed to create “slam down” animations.

L ife is easy when you can capture everything to tape or film exactly the way you want it. But reality often intervenes: Maybe the camera shook too much. Or maybe it wasn't possible to have the actors perform in front of the exact background required. Maybe you couldn't get a license to blow up that building in real life, or shoot arcs of electricity across a canyon.

I n this lesson, we will be focusing on different ways to create transparency. One of the keys to creating an interesting composite of multiple images is to make portions of those images transparent, so that you can see other images behind or through them. This is one of the main techniques that set motion graphic design and visual effects compositing apart from video editing.

The medical diagnostic imaging support workstation has been in clinical use at selected military medical centers since March 1992. The workstation is a critical component in picture archiving and communications systems representing the interface between the system and the end user. The workstation has undergone several software changes over the last year based on feedback from end users. The present performance of the workstation in terms of image manipulation and navigation, response time, database, and reliability is emphasized. Discussion includes clinical acceptance, lessons learned, and future enhancements.© (1994) COPYRIGHT SPIE--The International Society for Optical Engineering. Downloading of the abstract is permitted for personal use only.