| As our society becomes increasingly saturated | | | | that an event is possible in space and time. |
| with technology, jurors will expect the use of | | | | For the purpose of admissibility, a final |
| more complex and accurate visual aids in the | | | | consideration is to not confuse computer |
| courtroom. Jurors, especially of the younger | | | | animation with computer simulations. Computer |
| generation, have come to count on visual media | | | | simulations are different in that they present the |
| to augment their understanding of a topic. | | | | computer calculations as the expert, not the user. |
| Eyewitness perspectives, cognitive memory, and | | | | The results of a computer process are presented |
| perception of events and time are subject to | | | | as the opinion. These cases are extremely |
| intense examination by attorneys. Experienced | | | | problematic and should be avoided at all costs. It |
| lawyers are adept at using rhetoric and verbal | | | | is impossible, unless you own extremely |
| manipulation to produce doubt about a witnesses | | | | sophisticated and expensive software, to input all |
| credibility. Without the use of visual aids, many | | | | the possible physical properties of objects and |
| participants feel lost in the unfamiliar process of | | | | interactions that take place in space and time. |
| courtroom proceedings. Most witnesses are not | | | | NASA and the military have shown that even |
| prepared to counter highly trained | | | | these sophisticated algorithms are subject to fail. |
| cross-examination tactics. Once an accurate and | | | | To get the most out of a forensic animation |
| compelling visual is presented, this edge diminishes | | | | investment, hire someone who is both |
| significantly. Properly prepared visuals can give a | | | | experienced in 3D software and trained in classical |
| witness more control, which is why animations are | | | | animation. This may seem unimportant, but |
| so vigorously attacked by opposing counsel. Most | | | | classically trained animators are adept at making |
| media outlets have already adopted the use of | | | | any objects movement look “real”. If |
| computer animation to present visual concepts, | | | | movement looks real to jurors, it will be perceived |
| and it is only a matter of time before the | | | | as such. The human eye can perceive the |
| technology gains wide acceptance in the legal | | | | slightest error in locomotion. Classically trained |
| profession. | | | | animators understand how objects move through |
| To successfully use forensic animation, think of | | | | space and time, and more importantly, how the |
| the technology as an evolution of the chalkboard. | | | | human eye interprets these motions. It is the |
| To an experienced practitioner, the process is not | | | | precise interpretation of events, realism and |
| complex. A forensic animator presents visuals | | | | accuracy that make a great forensic animation. It |
| based on documented evidence and expert | | | | does not make sense to spend thousands of |
| consultation. The particulars of a case determine | | | | dollars recreating a scene only to have someone |
| the type of expert needed, but one should be | | | | walking around like a robot. |
| utilized. Flashy camera moves and | | | | When used correctly, forensic animation can be a |
| undocumented assets jeopardize an animations | | | | highly persuasive tool. It is currently available and |
| admissibility. Nothing should be presented without a | | | | affordable to the masses. As with any new |
| solid foundation. In fact, the majority of a forensic | | | | technological investment, be sure to thoroughly |
| animator’s time is spent documenting process | | | | research the options available. Looking into the |
| and foundation. A forensic animator only needs to | | | | future, courtroom technology is headed quickly on |
| be an expert in the software used, and must be | | | | a path toward full event emersion. The ability to |
| able to demonstrate the accuracy of the | | | | immerse jurors in any situation will complete our |
| animation both in space (dimensions) and time | | | | theoretical evolution of the chalkboard and allow |
| (frames). At trial, a forensic animator should not | | | | participants to experience firsthand any event or |
| have an opinion on what actually occurred, only | | | | perspective. |