Chapter 6 Animation

Total Page:16

File Type:pdf, Size:1020Kb

Chapter 6 Animation 637 Chapter 6 Animation 6.1 Animation A n i m a t i o n This chapter describes the animation tools in trueSpace. 6.1.1 Animation Control Group By default, trueSpace places the Animation Control group on your toolbar when you start the program. Here, you will find a variety of VCR-like controls for playing animations, recording key frames, and moving between animation frames. Unlike traditional animation techniques (such as cel drawing and stop-motion photography), where one must draw every frame to create motion, in trueSpace you define the important points in time where actions take place (known as keyframes) and the program then draws CHAPTER 6 638 Animation all the in-between frames. Many types of actions can be keyframed, including movement, rotation, scal- ing, deformations, camera zooms, look at and ahead constraints, shader and material attributes, edge/ver- tex/face translation, and Inverse Kinematics/Bones manipulation. To set a keyframe for an object, simply move to that frame and manipulate the object; to keyframe texture changes, select the desired frame num- ber, make changes to your shader settings, and use thePaint Over tool to apply the modified surface (also see the material editor documentation for information on trueSpace’s animated material capabilities). When used in conjunction with the Object Move tool, creating keyfames for position also creates an animation path for the object which can then be displayed with by selecting the Animation Path tool. In addition, keyframes may be recorded into clips, which can easily be expanded, contracted, moved, and blended with other clips to compose complex animations in a non-linear fashion. For example, one clip may contain keyframes of a character moving his legs as if walking. Another clip may be recorded just to move the character across the grid. A third clip could be recorded to swing the character’s arms. With the “walking” and “swinging” clips shortened and set to repeat, the animations would blend together, and the character would appear to walk across the screen. This is the full Animation Controls group, offering access to most of trueSpace’s animation functionality without cluttering up your workspace. Play Record Advance to End Previous Keyframe Next Keyframe Previous Frame Next Frame Return to Start Jumps to the animation’s first frame, or to the first keyframe of the selected object. If a specific animation parameter (such as Move) is selected, clicking this button jumps to the first keyframe in that parameter. Reverse to Previous Keyframe Clicking this control jumps the Current Frame Number to the previous keyframe for a scene or object. If a specific animation parameter is selected, clicking this button jumps to the previous keyframe for that parameter, ignoring other animation tracks. Reverse to Previous Frame Caligari trueSpace 7 639 ARTIST GUIDE Play Plays the animation to screen in wireframe or solid mode depending on the current screen mode. Advance to End Advance To Next Keyframe Jumps the Current Frame Number to the next keyframe for a scene or object. If a specific animation pa - rameter is selected, clicking this button jumps to the next keyframe for that parameter, ignoring the other animation tracks. Record Key Sets a key frame for animated parameters for the current object at the current frame. The type of key set depends on the current tool active. There are two modes for the Record Key tool and are set by a right- click on the record tool. With Autorecord enabled, a key is set every time an object is manipulated at a A frame other than 0. If Autorecord is disabled then the Record Key must be pressed each time you wish n i to create a keyframe. m a t i o n Advance to Next Frame Animation Parameters Panel Right-click on the Play tool to open the Animation parameters panel. Settings here include the animation start and end frame, whether the current object or the entire scene is animated, looping controls, and base rate controls. • Play Mode: This determines whether the current clip, the current object, or the entire scene (all objects) is animated when the Play button is activated. If two or more windows are open, including the main view, the object animates in all windows. Scene animates only in the active window. Note: Clip-view defaults to scene mode; key-view defaults to clip mode. • Play Opts: ◦ Toggle: Plays the animation forward then backward once. CHAPTER 6 640 Animation ◦ Loop: Loops the animation during screen playback only. The ESC key or the double right- click interrupts play back. It can be combined with Toggle. ◦ Reset: When enabled, trueSpace will return you to frame 0 after animation playback has completed. • Base Rate: The rate in fps (frames per second) that the animation will play at. The choices are 30 fps for NTSC, 25 fps for PAL, and 24 fps for film. • Start/End: These values show the current start and end frames for animation preview. By de- fault Start is set to 0, the first frame, and End is set to the last frame in which animation for the currently selected object ends. You can also change these in the Project window. • PlayRate: This limits the real-time playback rate to the specified number of frames per second. trueSpace will play back frames as fast as it can draw them (dependant on hardware), not ex- ceeding this rate. 6.1.2 Overview of the Scene Editor Scene Editor Click on the Scene Editor tool to open the Scene Editor (also known as the SE for short), which com - bines all the trueSpace animation functions within one window. In addition to giving you complete control over all aspects of your animation, this powerful utility gives you the ability to edit your scene in much the same way you would use Windows Explorer to manage your hard drive. Toolbar Track Pane Object Listing Clip Naming / Selection Status Bar When you open up the Scene Editor, you’ll notice it’s divided into five parts: • The Toolbar (across the top of the SE), which contains a row of icons for editing, managing, and previewing your scene’s animation; • The Object Listing (the left pane below the toolbar), a hierarchical display of the objects in your scene; • The Clip Naming/Selection functions which can be used to create, rename, and change active clips; • The Track Pane (to the right of the Object Listing), which contains a timeline of all animation in your scene; and Caligari trueSpace 7 641 ARTIST GUIDE • The Status Bar (across the bottom of the window), which displays information on the current frame number, including running time and total number of frames of animation in your scene. When moving your cursor over the Toolbar, the Help field to the far left displays the name of the tool your cursor points to. The Scene Editor behaves in every way like a standard Microsoft Windows window. To resize the Scene Editor, click and drag on any of its four corners. To minimize, maximize, or close the Scene Editor, click on the appropriate buttons in the title bar. To resize the Object Listing or Track Panes, click and drag on the divider which separates these panes. By right-clicking on any object in the Object Listing, you can rename, copy, delete, or render the selected object. (If you have used Windows Explorer, you’ll probably catch on to these conventions quickly. See “The Object Listing” for more information.) Note that when you minimize the Scene Editor, it is nestled into the main title bar of trueSpace. You can restore the Scene Editor by either by clicking on the Restore button or the Scene Editor tool. The Toolbar On the toolbar you will find all the tools necessary for editing keyframe locations (such as Copy, Paste, and Delete). You will also find controls to manage the contents of the Track Pane. A Scene Editor Preferences n i m a t Clicking on the Scene Editor Preferences button opens up the preferences dialog box. (Note: The Scene i o Editor preferences dialog can also be opened by right-clicking the Scene Editor button from the anima- n tion toolbar.) • Display: This field allows you to select which objects show up in the Scene Editor. Choose between All Objects, or Animated Objects Only. ◦ All Objects: When selected, the Scene Editor displays every object in your scene. ◦ Animated Objects Only: This option restricts the information in the Scene Editor to only those CHAPTER 6 642 Animation objects which are animated (contain keyframes). Note: For relatively simple scenes, it is a good idea to select All Objects to give you easy access to all the objects in your scene. However, with more complex scenes con- taining large amounts of animation, consider selecting Animated Objects Only so you don’t have to hunt through the Scene Editor for a specific object. • Animation Tracks: The options in this field let you select which animation properties are dis- played in the Track Pane. Choose between Show all, Hide empty tracks, or Show none. (For more detailed information on the information displayed, see the section titled “The Track Pane” later on.) ◦ Show All: Displays the complete range of animatable properties for all the objects in your scene, even those properties not currently keyframed. ◦ Hide empty tracks: Restricts the Scene Editor display to only those properties which are ani- mated. (For example, if an object is set to rotate in your animation, the Scene Editor will only display rotational keyframes, and ignore other properties such as movement and scaling.) ◦ Show None: When this option is selected, only the objects (and sub-objects) in your scene are displayed in the Object Listing.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Aplikasi Untuk Desain Grafis Yang Gratis
    Aplikasi Untuk Desain Grafis Yang Gratis Faisal Aditya [email protected] Abstrak Bagi animator maupun yang suka bergelut di bidang desain grafis software berbasis 3D adalah fondasi utama dalam merancang sebuah desain sehingga menghasilkan nilai seni yang tinggi dan kepuasan tersendiri. Namun software yang digunakan terbilang cukup berat dari segi biaya maupun kapasitasnya. Disini saya akan memaparkan aplikasi yang gratis agar tidak memakan biaya bagi anda dan juga bisa untuk belajar. Kata Kunci : aplikasi, desain grafis,free, komputer Pendahuluan Desain grafis adalah bagian penting dari sebuah lapangan pekerjaan yang sifatnya seni modern. Contohnya dalam perfilman, jika tidak ada software desain grafis maka pencitraan karya yang dibuat kurang menarik bahkan tidak menarik untuk dinikmati penikmat film karena sentuhan akan modernisasi kurang memukau dan juga sebagai alasan memadukan unsur fisik (nyata) dan rekayasa. Maka haruslah ada software/aplikasi yang mendukung. Lisensi Dokumen: Copyright © 2008-2014 ilmuti.org Seluruh dokumen di ilmuti.org dapat digunakan, dimodifikasi dan disebarkan secara bebas untuk tujuan bukan komersial (nonprofit), dengan syarat tidak menghapus atau merubah atribut penulis dan pernyataan copyright yang disertakan dalam setiap dokumen. Tidak diperbolehkan melakukan penulisan ulang, kecuali mendapatkan ijin terlebih dahulu dari ilmuti.org Pembahasan Komputer grafis Tiga dimensi (3D) saat secara luas digunakan hampir dapat dilihat di mana saja, baik film, desain produk , iklan, dll. Meskipun begitu tidak berarti grafis Tiga dimensi (3D) mudah dibuat. Untuk membuat grafis Tiga dimensi, maka harus dibuat dalam alat authoring 3D yang biasanya memerlukan biaya yang cukup besar untuk pengguna yang bukan profesional dibidang ini. Sebuah model 3D biasanya dibuat menggunakan alat pemodelan 3d. Oleh karena itu, saya pikir mungkin menarik untuk membahas ketersediaan sumber alat pemodelan 3D yang gratisan.
    [Show full text]
  • Deree College Syllabus For: Itc 3129 3D Modeling Methodologies 2/1/2
    DEREE COLLEGE SYLLABUS FOR: ITC 3129 3D MODELING METHODOLOGIES 2/1/2 (Updated Spring 2016 ) UK LEVEL 5 UK CREDITS: 10 PREREQUISITES: ITC1070 LE Information Technology Fundamentals –or- CS1070 Introduction to Information Systems CATALOG 3D object manipulation. Modelling methodologies. Lighting and DESCRIPTION: rendering effects. Camera manipulation. Textures creation and use. Dynamic animation. Characters creation and manipulation. RATIONALE: The course is intended for students of the Digital Media Technologies of the IT major. It aims to provide in-depth experience of 3D modelling practices and applications. Object manipulation, lighting and rendering techniques, and specialized components, such as characters, are addressed at various levels. LEARNING OUTCOMES: As a result of taking this course, the student should be able to: 1. Demonstrate knowledge of object manipulation 2. Analyse modelling techniques. 3. Construct 3D models with animation capabilities and use them to compose 3D scenes. METHOD OF TEACHING AND In congruence with the teaching and learning strategy of the LEARNING: college, the following tools are used: Classroom lectures, class discussions. Laboratory sessions, involving training and practice in the creation of 3D scenes. Office hours: Students are encouraged to make full use of the office hours of their instructor, where they can ask questions and go over lecture material. Use of the Blackboard Learning platform, where instructors post lecture notes, assignment instructions, timely announcements, as well as additional resources. ASSESSMENT: Summative: Midterm Examination: combination of short essay 40% questions and case problems Project: Model creation/ development of a 3D 60% scene/animation Formative: In-class, 1-hour, “diagnostic” test: short essays 0 Coursework: practical exercises / creation of 3D 0 scenes/ case problems The formative assessments aim to shape teaching along the semester and prepare students for the summative assessments.
    [Show full text]
  • Scientific & Technical Visualization I
    SCIENTIFIC & TECHNICAL VISUALIZATION I (Canady Version) Summer 2005 Scientific & Technical Visualization I http://www.intelegia.com/en/files/2013/05/datavisualisation.jpg 1 SCIENTIFIC & TECHNICAL VISUALIZATION I (Canady Version) Summer 2005 This is an amended version of the NC Department of Education’s curriculum for Scientific Visualization I course number 7061. The changes were made by Tonja Canady for Atkins High School students. Any photographs or graphics taken from the Internet have a hyperlink to the webpage or website from where they were copied. In addition, some information from the original document has to corrected or reworded in this version. Furthermore, activities and answer keys have been removed; teachers should use the original document to access student activities and answer keys. It is my belief that this version is more technologically current, links to 3ds Max tutorials, and is more student oriented than teacher oriented. Should you find mistakes, please notify Ms. Canady at [email protected] indicating the page number and paragraph number along with the correction. The information will be updated as quickly as possible. 2 SCIENTIFIC & TECHNICAL VISUALIZATION I (Canady Version) Summer 2005 Table of Contents Unit 1: Leadership Development and Orientation .................................................................... 8 Objective: 1.01 Identify basic business meeting procedures. .................................................... 9 Objective: 1.02 Establish personal and organizational goals. .................................................
    [Show full text]
  • An Overview of 3D Data Content, File Formats and Viewers
    Technical Report: isda08-002 Image Spatial Data Analysis Group National Center for Supercomputing Applications 1205 W Clark, Urbana, IL 61801 An Overview of 3D Data Content, File Formats and Viewers Kenton McHenry and Peter Bajcsy National Center for Supercomputing Applications University of Illinois at Urbana-Champaign, Urbana, IL {mchenry,pbajcsy}@ncsa.uiuc.edu October 31, 2008 Abstract This report presents an overview of 3D data content, 3D file formats and 3D viewers. It attempts to enumerate the past and current file formats used for storing 3D data and several software packages for viewing 3D data. The report also provides more specific details on a subset of file formats, as well as several pointers to existing 3D data sets. This overview serves as a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D data files. 1 Introduction 3D data represents information in several applications, such as medicine, structural engineering, the automobile industry, and architecture, the military, cultural heritage, and so on [6]. There is a gamut of problems related to 3D data acquisition, representation, storage, retrieval, comparison and rendering due to the lack of standard definitions of 3D data content, data structures in memory and file formats on disk, as well as rendering implementations. We performed an overview of 3D data content, file formats and viewers in order to build a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D files.
    [Show full text]
  • Vizin-Lsinc Joint PR-Package.Pdf
    INSTITUTE FOR THE VISUALIZATION OF HISTORY 151 Bridges Road • Williamstown MA 01267-2232 USA v/f: 413-458-1788 • email: [email protected] • http://www.vizin.org "When people don't know history, they have a poor sense of their country and community, and most of all, the relative importance of [current] events" ("History Tells us to be Afraid,” by Mark Lane, article circulated by Cox Newspapers May 2002). About the Institute EXPERTISE The INSTITUTE builds and expands upon the pioneering work of Learning Sites, Inc., in the field of virtual heritage. Learning Sites® is a recognized leader in designing and building innovative products using archaeological and other historical material. The INSTITUTE’s staff brings a wide range of expertise and many years experience to each project. LEARNING SITES was an "official collaborator" for the first Festival on Virtual Archaeology, organized by the Computer Applications in Archaeology Society of Spain and the Centre de Cultura Contemporania de Barcelona, in preparation for the Computer Applications in Archaeology World Conference, 1998. One of LEARNING SITES’ educational packages was voted one of the top 10 VRML-based virtual worlds on the Internet by Silicon Graphics Incorporated, and Simon & Schuster selected one of LEARNING SITES’ virtual worlds as the only virtual world to appear on its premier online educational Web site. LEARNING SITES re-creations have appeared on television, in movies, and in online and paper publications around the world. VIZIN is a registered trademark of the Institute for the Visualization of History, Inc. The Institute’s Professional Expertise Includes: archaeology (diverse styles, periods, and cultures).
    [Show full text]
  • Nei Nastran In-CAD™
    NEi Nastran in-CAD Features Overview NEi Nastran in-CAD combines a FEM Modeler with comprehensive pre- and post- processing capabilities, and NASTRAN Solvers. Parts and assemblies can be analyzed for a wide spectrum of static, dynamic, and thermal loading. NEi Nastran in-CAD features true geometry associativity, composite elements, custom coordinate systems and nonlinear analyses for plasticity and true surface to surface contact. With NASTRAN being one of the most Dual Kernel Support and Kernel widely used solutions, NEi Nastran in-CAD collaboration (ACIS and Parasolid) users can now communicate their data to Support both top-down and bottom-up most standard pre- and post-processors design process through support of the NASTRAN file format. This provides versatility to a product which is CAD Interoperability: already easy to use and backed by the Native file translators to and from nearly renowned NASTRAN solution. all mechanical CAD products and graphical applications on the market Capabilities: today: CATIA® V4 & V5, SolidWorks®, Unique Methodologies: Pro/ENGINEER®, IPT & IAM (Autodesk Innovative Part Design, Intuitive feature Inventor®), Unigraphics®, IGES, STEP, history with flexible design intent X_T (Parasolid®), SAT (ACIS®), VRML, 3D Dynamic Modeling, Mixed feature STL, DWG, DXF™, EXB (CAXA based and direct editing design DRAFT), TIFF, JPG, PNG, TGA, BMP, Single scene part and assembly EPS, HSF (Hoops), 3DS (3D Studio), environment POV-Ray, Raw, Romulus, TrueSpace, IntelliShape™ Handled based design OBJ (Wavefront), 3D PDF editing Supported standards: ANSI, DIN, ISO, IntelliShape Modeling Intelligence, JIS, and GB Advanced modeling settings connected to features Part Modeling: SmartSnap™ Technology enabling Feature based, parameterized solid automatic catching to existing geometry modeling SmartAssembly® Technology for Scene Browser dynamic design tree automatic positioning, sizing, and (e.g.
    [Show full text]
  • Guide to Graphics Software Tools
    Jim x. ehen With contributions by Chunyang Chen, Nanyang Yu, Yanlin Luo, Yanling Liu and Zhigeng Pan Guide to Graphics Software Tools Second edition ~ Springer Contents Pre~ace ---------------------- - ----- - -v Chapter 1 Objects and Models 1.1 Graphics Models and Libraries ------- 1 1.2 OpenGL Programming 2 Understanding Example 1.1 3 1.3 Frame Buffer, Scan-conversion, and Clipping ----- 5 Scan-converting Lines 6 Scan-converting Circles and Other Curves 11 Scan-converting Triangles and Polygons 11 Scan-converting Characters 16 Clipping 16 1.4 Attributes and Antialiasing ------------- -17 Area Sampling 17 Antialiasing a Line with Weighted Area Sampling 18 1.5 Double-bl{tferingfor Animation - 21 1.6 Review Questions ------- - -26 X Contents 1.7 Programming Assignments - - -------- - -- 27 Chapter 2 Transformation and Viewing 2.1 Geometrie Transformation ----- 29 2.2 2D Transformation ---- - ---- - 30 20 Translation 30 20 Rotation 31 20 Scaling 32 Composition of2D Transformations 33 2.3 3D Transformation and Hidden-surjaee Removal -- - 38 3D Translation, Rotation, and Scaling 38 Transfonnation in OpenGL 40 Hidden-surface Remova! 45 Collision Oetection 46 30 Models: Cone, Cylinder, and Sphere 46 Composition of30 Transfonnations 51 2.4 Viewing ----- - 56 20 Viewing 56 30 Viewing 57 30 Clipping Against a Cube 61 Clipping Against an Arbitrary Plane 62 An Example ofViewing in OpenGL 62 2.5 Review Questions 65 2.6 Programming Assignments 67 Chapter 3 Color andLighting 3.1 Color -------- - - 69 RGß Mode and Index Mode 70 Eye Characteristics and
    [Show full text]
  • Appendix: Graphics Software Took
    Appendix: Graphics Software Took Appendix Objectives: • Provide a comprehensive list of graphics software tools. • Categorize graphics tools according to their applications. Many tools come with multiple functions. We put a primary category name behind a tool name in the alphabetic index, and put a tool name into multiple categories in the categorized index according to its functions. A.I. Graphics Tools Listed by Categories We have no intention of rating any of the tools. Many tools in the same category are not necessarily of the same quality or at the same capacity level. For example, a software tool may be just a simple function of another powerful package, but it may be free. Low4evel Graphics Libraries 1. DirectX/DirectSD - - 248 2. GKS-3D - - - 278 3. Mesa 342 4. Microsystem 3D Graphic Tools 346 5. OpenGL 370 6. OpenGL For Java (GL4Java; Maps OpenGL and GLU APIs to Java) 281 7. PHIGS 383 8. QuickDraw3D 398 9. XGL - 497 138 Appendix: Graphics Software Toois Visualization Tools 1. 3D Grapher (Illustrates and solves mathematical equations in 2D and 3D) 160 2. 3D Studio VIZ (Architectural and industrial designs and concepts) 167 3. 3DField (Elevation data visualization) 171 4. 3DVIEWNIX (Image, volume, soft tissue display, kinematic analysis) 173 5. Amira (Medicine, biology, chemistry, physics, or engineering data) 193 6. Analyze (MRI, CT, PET, and SPECT) 197 7. AVS (Comprehensive suite of data visualization and analysis) 211 8. Blueberry (Virtual landscape and terrain from real map data) 221 9. Dice (Data organization, runtime visualization, and graphical user interface tools) 247 10. Enliten (Views, analyzes, and manipulates complex visualization scenarios) 260 11.
    [Show full text]
  • Appendix a Basic Mathematics for 3D Computer Graphics
    Appendix A Basic Mathematics for 3D Computer Graphics A.1 Vector Operations (),, A vector v is a represented as v1 v2 v3 , which has a length and direction. The location of a vector is actually undefined. We can consider it is parallel to the line (),, (),, from origin to a 3D point v. If we use two points A1 A2 A3 and B1 B2 B3 to (),, represent a vector AB, then AB = B1 – A1 B2 – A2 B3 – A3 , which is again parallel (),, to the line from origin to B1 – A1 B2 – A2 B3 – A3 . We can consider a vector as a ray from a starting point to an end point. However, the two points really specify a length and a direction. This vector is equivalent to any other vectors with the same length and direction. A.1.1 The Length and Direction The length of v is a scalar value as follows: 2 2 2 v = v1 ++v2 v3 . (EQ 1) 378 Appendix A The direction of the vector, which can be represented with a unit vector with length equal to one, is: ⎛⎞v1 v2 v3 normalize()v = ⎜⎟--------,,-------- -------- . (EQ 2) ⎝⎠v1 v2 v3 That is, when we normalize a vector, we find its corresponding unit vector. If we consider the vector as a point, then the vector direction is from the origin to that point. A.1.2 Addition and Subtraction (),, (),, If we have two points A1 A2 A3 and B1 B2 B3 to represent two vectors A and B, then you can consider they are vectors from the origin to the points.
    [Show full text]