ANIMATING PHYSICS
LABWORK
Figure 2. Four frames of an animation showing a free particle( or better, its wavefunction) hitting a potential barrier. Most of the wavefunction is reflected, interfere with itself, and goes back, while a small fraction passes through the barrier. In this specific case I have chosen to plot also the modulus of the wavefunction( in black) to highlight the fringes due to the incoming wavefunction interfering with the reflected wavefunction.
formulas that we can just see in our mind how they relate to the Physical processes they describe, which makes plots, diagrams, and animations about them invaluable. Simulation-based: Sometimes it is easier to run a full( albeit often simplified) simulation of the phenomenon you want to show than try to hand-craft an animation about it. This is a particularly attractive proposition if you are already sitting on a lot of suitable code, e. g. because you are running those simulations anyway, or might require a significant time investment if you are starting from zero. Artistic impressions: Accuracy is not always the main goal. You don’ t want to mislead people or be factually wrong, but sometimes conveying the big idea is more important than the fine details. If you are artistically inclined this might be the easiest way to start making scientific animation. If you( like me) are not artistically inclined at all, it is a non-starter.
How do I make one?
You don’ t need to be either an artist or any good at coding to make a good animation, but admittedly there is a( largely mental) barrier to entrance. An important first step is to have clear in your mind who the audience is. Are you making an animation to help you with a lecture? For your next presentation at a conference? Are you planning to share it with your friends / colleagues on social media? Do you want to use it for scientific outreach? This will inform you about how complex the things you show in the animation can be before your intended audience loose you completely. Which, to be honest, is not very different from the mental process you have to go through when making a figure. The second step, and where I feel most people give up, is the choice of the tool you are going to use. The fact
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