Semi-Automatic Web Application for Comparing Animation Tools
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Unit 31: Computer Animation
Unit 31: Computer Animation Unit code: D/601/7658 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose The aim of this unit is to ensure learners understand types of animation and their uses and develop the knowledge and skills required to use software techniques to design and implement different types of animation. Unit introduction Computer animation is the art of creating moving images through the use of computers. It brings together computer graphics and animation techniques. Animation does not require computers, however the increasing ability of computers to create and manipulate sets of images has allowed basic animation to reach new levels of sophistication and realism. To create the illusion of movement, a sequence of images is displayed over time and the human eye perceives this sequence as continual movement. The technique is at the heart of all existing technologies such as television and motion pictures. It is increasingly created by means of 3D computer graphics, although 2D computer graphics are still widely used for low bandwidth and faster real-time needs. Only 2D graphics are required in this unit. Animation has become a prominent feature of the worldwide web and is used to create interest and attract attention. In this area, however, there are other factors that need to be taken into account when designing and building applications, such as the nature of the display device and the bandwidth of the connection. As with all computer applications learners must first identify the need, specific requirements and constraints before building the solution. Learners will start by looking at different types of animation and their uses and formats. -
Making a Game Character Move
Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future. -
A Procedural Interface Wrapper for Houdini Engine in Autodesk Maya
A PROCEDURAL INTERFACE WRAPPER FOR HOUDINI ENGINE IN AUTODESK MAYA A Thesis by BENJAMIN ROBERT HOUSE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Chair of Committee, André Thomas Committee Members, John Keyser Ergun Akleman Head of Department, Tim McLaughlin May 2019 Major Subject: Visualization Copyright 2019 Benjamin Robert House ABSTRACT Game development studios are facing an ever-growing pressure to deliver quality content in greater quantities, making the automation of as many tasks as possible an important aspect of modern video game development. This has led to the growing popularity of integrating procedural workflows such as those offered by SideFX Software’s Houdini FX into the already established de- velopment pipelines. However, the current limitations of the Houdini Engine plugin for Autodesk Maya often require developers to take extra steps when creating tools to speed up development using Houdini. This hinders the workflow for developers, who have to design their Houdini Digi- tal Asset (HDA) tools around the limitations of the Houdini Engine plugin. Furthermore, because of the implementation of the HDA’s parameter display in Maya’s Attribute Editor when using the Houdini Engine Plugin, artists can easily be overloaded with too much information which can in turn hinder the workflow of any artists who are using the HDA. The limitations of an HDA used in the Houdini Engine Plugin in Maya as a tool that is intended to improve workflow can actually frustrate and confuse the user, ultimately causing more harm than good. -
Easy Facial Rigging and Animation Approaches
Pedro Tavares Barata Bastos EASY FACIAL RIGGING AND ANIMATION APPROACHES A dissertation in Computer Graphics and Human-Computer Interaction Presented to the Faculty of Engineering of the University of Porto in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Digital Media Supervisor: Prof. Verónica Costa Orvalho April 2015 ii This work is financially supported by Fundação para a Ciência e a Tecnologia (FCT) via grant SFRH/BD/69878/2010, by Fundo Social Europeu (FSE), by Ministério da Educação e Ciência (MEC), by Programa Operacional Potencial Humano (POPH), by the European Union (EU) and partially by the UT Austin | Portugal program. Abstract Digital artists working in character production pipelines need optimized facial animation solutions to more easily create appealing character facial expressions for off-line and real- time applications (e.g. films and videogames). But the complexity of facial animation has grown exponentially since it first emerged during the production of Toy Story (Pixar, 1995), due to the increasing demand of audiences for better quality character facial animation. Over the last 15 to 20 years, companies and artists developed various character facial animation techniques in terms of deformation and control, which represent a fragmented state of the art in character facial rigging. Facial rigging is the act of planning and building the mechanical and control structures to animate a character's face. These structures are the articulations built by riggers and used by animators to bring life to a character. Due to the increasing demand of audiences for better quality facial animation in films and videogames, rigging faces became a complex field of expertise within character production pipelines. -
Mi Army Maya Download Crack
Mi Army Maya Download Crack Mi Army Maya Download Crack 1 / 2 Copy video URL Copy embed code Report issue · Powered by Streamable. Mi Army For Maya Download Crack ->>> http://urllie.com/wn9ff 42 views.. Miarmy 6.2 for Autodesk Maya | crowd-simulation plugin for Maya https://goo.gl/uWs11s More plugin .... Miarmy for maya. Bored of creating each separate models for warfield or fight. Now it's easy to create army. This plug-in is useful for creating armies reducing the .... 11.6MB Miarmy (named My Army) is a Maya plugin for crowd simulation AI behavioral animation creature physical .. KickassTorrents - Download torrent from .... free software downloadfree software download sitespc software free download full ... Miarmy (named “My Army”) is a Maya plugin for crowd simulation, AI, .... It's fast, fluid, intuitive, and designed to let you do what you want, the way you want. What you will get: Miarmy Express; Installation Guide; Free License .... Used to kill for MOD, MI ARMY, FBM, PB ADDICTS, ALL STAR KIDZ. Godonthefield is offline Miarmy pro maya 2011 torrent download, miarmy for maya .... Plugins Reviews and Download free for CG Softwares ... Basefount released Miarmy 7 with Maya 2019 Support. CGRecord ... Basefount released the new update of its crowd simulation tool for Autodesk Maya - Miarmy 7.. Plugins Reviews and Download free for CG Softwares ... [ #Autodesk #Maya #Basefount #Miarmy #Crowd #Simulation ]. Basefount has released Miarmy 6.5, the latest update to its crowd-simulation system for Maya with .... ... and Software Crack Full Version Title Download Android Games / PC Games and Software Crack Full Version: Miarmy 3.0 for Autodesk Maya Link Download. -
Jack's Poser Pro Manual Last Update: 2021 09 17
Jack's Poser Pro Manual Last Update: 2021 09 17 Note 1: This Manual has been prepared for my own use. If you find it useful, great. However, don't be surprised (or angry with me) if I have failed to update something that has changed from one version of Poser to the next and which I haven't discovered yet. Or if I have failed to understand and so incorrectly describe something. If I discover (or have pointed out to me) that something in this Manual doesn't work as I described, I'll see about updating my text. Note 2: I installed Poser 12 on 30 November 2020. I have no idea if anything in this Manual has changed in Poser 12. I will make necessary changes as I find them. I began using Poser Pro 2012 on about 2013 01 07. This file was started soon after doing a bit of experimenting and finding that I had no tutorial. So here are the results from experimenting, reading Poser Pro 2012 Reference Manual, Poser Pro 2014 Reference Manual, Poser Pro 11 Reference Manual, Smith Micro Tech Support, and internet research. I also have Practical Poser 8. The Official Guide, by Richard Schrand, even though Poser 8 would seem to be several iterations behind Poser Pro 2014, and even farther behind Poser Pro 11 which I started using in December 2015, or Poser 12 as noted above. Most of the information in this Manual is based on my experiences with Poser Pro 2012 and 2014, and probably still holds true for Poser Pro 11 or Poser 12 versions. -
Lighting a 3D Model
International Journal For Technological Research In Engineering Volume 8, Issue 5, January-2021 ISSN (Online): 2347 - 4718 LIGHTING A 3D MODEL 1Jatin Bal, 2Prof. Indu Khatri 1Student, 2Assistant Professor Department of Computer Science Bhagwan Mahaveer College of Engineering and Management, Sonipat, Harayana Abstract: This paper describes detailed lighting procedure 1. Lights of 3D scene using blender software package. The aim is to define and describe all procedure, step by step, that provide Light or visible light is an electromagnetic radiation. When the final result. Two different scenes have been lit in this light falls on an object that object reflects the light and when paper: one with proper instructions and other for showing that light enters our eye, we “humans” are able to see that the extent of technique. Since it is possible to make a objects. The more object reflects the light the more clearly, theoretically unlimited number of light sources in virtual we are able to see the object. That’s why we are able to see 3D studio, the theoretical part of the paper outlines the our hands and we can see through glass as hands reflects basic guidelines for understanding the nature of the light in more amount of light than glass (glass refracts the light). computer-generated environment and for its more quality Computer graphics cannot faithfully simulate the complex and more realistic implementation. nature of light, we are forced to use various additional lights to enrich computer graphics and skillfully, artistically Key words: blender, lights, 3-point lighting, eevee render simulate real-world phenomena. -
Spatial Reconstruction of Biological Trees from Point Cloud Jayakumaran Ravi Purdue University
Purdue University Purdue e-Pubs Open Access Theses Theses and Dissertations January 2016 Spatial Reconstruction of Biological Trees from Point Cloud Jayakumaran Ravi Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_theses Recommended Citation Ravi, Jayakumaran, "Spatial Reconstruction of Biological Trees from Point Cloud" (2016). Open Access Theses. 1190. https://docs.lib.purdue.edu/open_access_theses/1190 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. SPATIAL RECONSTRUCTION OF BIOLOGICAL TREES FROM POINT CLOUDS A Thesis Submitted to the Faculty of Purdue University by Jayakumaran Ravi In Partial Fulfillment of the Requirements for the Degree of Master of Science May 2016 Purdue University West Lafayette, Indiana ii Dedicated to my parents and my brother who always motivate me to give my best in whatever I choose to do. iii ACKNOWLEDGMENTS Firstly, I would like to thank Dr. Bedrich Benes - my advisor - for giving me the opportunity to work at the High Performance Computer Graphics (HPCG) lab. He gave me the best possible support during my stay here and was kind enough to overlook my mistakes. These past years have been one of the best learning opportunities of my life. I learnt a great deal from all my former and current lab members who are exceptionally talented and smart. I thank Dr. Peter Hirst for giving me the opportunity to work with his team and for also sending us apples from the farm during harvest season. I thank Biying Shi and Fatemeh Sheibani for going with me to the field and helping me with the tree scanning under various weather conditions. -
Daniel Mccann Graphics Programmer
Daniel McCann Graphics Programmer https://github.com/mccannd EXPERIENCE SKILLS Bentley Systems, Exton PA — Software Engineering Intern CPU Languages: C++, May 2017 - August 2017 Javascript/Typescript, Transitioned to physically-based materials for an in-development rendering Python, Java engine, backwards-compatible with OpenGL ES 2.0 and the standard used by GPU API: OpenGL & Analytical Graphics, Inc.’s Cesium engine. GLSL,Vulkan, CUDA University of Pennsylvania, Philadelphia — Teaching Assistant, Multiple Classes May 2015 - PRESENT Game Engines: Unreal 4, Unity CIS 566, Procedural Graphics, current: responsible for several lectures, homework basecode creation, grading, office hours. Proprietary Graphics CIS 110, Introductory Computer Science, 5 semesters: responsible for grading, Software: Substance weekly lectures in Fall and Spring semesters, daily lectures in Summer semester, Designer, Substance office hours. Painter, ZBrush, FNAR 235, Introductory and Advanced 3D Modelling, 3 semesters: responsible for Autodesk Maya, teaching and tutoring 3D software design and artistic skills, and critique. Focus on Photoshop Autodesk Maya, ZBrush, Mental Ray and Arnold Renderers, texturing tools. Shaders, Proceduralism, Strong artistic sense EDUCATION and communication University of Pennsylvania, Philadelphia — MSE, Computer Graphics + Games Tech. skills. August 2017 - May 2018 Expected Graduation University of Pennsylvania, Philadelphia — BSE, Digital Media Design August 2013 - May 2017 Relevant Classes: UPenn’s DMD is an interdisciplinary major for programmers interested in - CIS 565 GPU animation, games, and computer graphics in general. programming & architecture PROJECTS - CIS 700 procedural graphics Project Marshmallow — Fall 2017 A Vulkan implementation of the Siggraph 2017 “Nubis” paper for rendering - CIS 560 physically atmospheric clouds in 60+FPS for games. The clouds are fully procedural, based rendering animated, photoreal, and cast shadows on objects in the scene. -
V1.0 PDF Manual
Anim8or® User Guide Version 1.00 29-May-17 R. Steven Glanville © 1999 - 2017 R. Steven Glanville. All rights reserved. http://www.anim8or.com Table Of Contents Introduction 9 What's New in v1.0 10 User Interface 10 Modeling 10 Animation 11 Basics 12 Mouse Usage 12 Keyboard Shortcuts 12 Undo and Redo 12 Tool Tips 13 Toolbars and Menus 13 Common Button Meanings 13 Top Toolbar 15 Arc Rotate 16 Editing Widgets 16 Grid Control 17 Material Editor 17 Anim8or Object Libraries 18 Visual Quality 18 OpenGL Workspace 19 File Output 20 User Attributes 20 Printing 20 Auto Save 20 Configuration 21 Version 1.00 29-May-17 2 © 1999 - 2017 R. Steven Glanville Table Of Contents User Interface Configuration 22 Object Editor - Basics & Object/Edit Mode 24 Object/Edit Tools 25 Basic Objects 25 Mesh vs. Parametric Components 27 Object Materials 28 Plug-in Shapes 28 Splines 29 True Type Fonts 29 Extrusion 30 Lathing 31 Modifiers 32 Mirror Image 33 Morph Targets 34 Continuously Mirrored Meshes 35 Reference Image 35 Object Editor - Object/Point Mode 37 Object/Point Operations 37 Point Editing 37 Edge Editing 38 Face Editing 39 Applying Multiple Materials 39 A Note on Selecting Faces 40 Adding Points and Edges 40 Adding Faces 41 Connecting Meshes 41 Merging Points 42 Version 1.00 29-May-17 3 © 1999 - 2017 R. Steven Glanville Table Of Contents Connecting Meshes (2) 42 Connecting Meshes (3) 42 Point and Line Parameters 43 Face Extrusion and Manipulation Tools 43 Topographical Knife 46 Face Editing Commands 47 Miscellaneous Commands 49 Selection Commands 49 Editing Commands 49 Figure Editor 51 Figure Basics 52 Figure/Edit Operations 52 Visibility 54 Building a Skeleton 55 Flexible Joints 56 Adding Body Parts 57 Skinning 57 Influence Volumes 58 Skinning Weights 59 Sequence Editor 61 Time Track 61 Scrubber Bar 62 Sequence Basics 62 Edit Operations 63 Visibility Options 63 Animate Button 64 What is a Key? 64 Version 1.00 29-May-17 4 © 1999 - 2017 R. -
2D Animation Software You’Ll Ever Need
The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived. -
3D World - the Magazine for 3D Artists
3D World - The Magazine For 3D Artists http://www.3dworldmag.com/page/3dworld?entry=3d_world_115_now_on SEARCH « Autodesk release Softimag... | Weblog | E-on call for showreel su... » CALENDAR « March 2009 » Monday March 02, 2009 Sun Mon Tue W ed Thu Fri Sat 1 2 3 4 5 6 7 - In Category - 3D World 115 now on sale in the UK 8 9 10 11 12 13 14 Search 15 16 17 18 19 20 21 In our latest issue: complete character workshop, pitch your 3D 22 23 24 25 26 27 28 project, comping tips and particle tricks, plus models and assets 29 30 31 CATEGORIES worth $326 on the CD Today LATEST ISSUE Click the thumbnail to order your copy online IN THE MAGAZINE Character workshop Master key sculpting and texturing techniques to recreate our cover star Modelling: follow videos of the full workflow to build every detail of your figure Texturing: apply a blend of painted textures and carefully chosen NEWS FEEDS shaders The perfect composite LINKS Whether you‘re adding digital creatures to footage or just trying to match two images, compositing is a vital part of VFX work. Brush up your skills with 20 expert tips Particle tricks Master dissolve effects in Blender with Andy Goralczyk Signed on the spot! Experts from across the 3D industry reveal the tricks of the trade that can make all the difference when pitching a project to an agency, potential backer, broadcaster or movie studio The making of Coraline For the animated version of Neil Gaiman‘s Gothic novella Coraline, Laika used CG and digital printing to create 15,000 separate face 1 of 3 4/12/2009 12:37 AM 3D