Annual Scientific Report 2011

Total Page:16

File Type:pdf, Size:1020Kb

Annual Scientific Report 2011 Roselló, 149-153 08036 Barcelona www.idibaps.org Your gateway to IDIBAPS. A portal open to medical professionals, scientists and biomedicine enthusiasts where you will find information about the institution and its activities Annual Scientific Report 2011 The mission of IDIBAPS is to combine high-quality clinical research with high-level basic research in order to achieve a more effective transfer of scientific results in the prevention and treatment of the most common health issues in our country. ANNUAL SCIENTIFIC REPORT Hospital Clínic – Fundació Clínic University of Barcelona – Faculty of Medicine CSIC – Institut d’Investigacions Biomèdiques de Barcelona (IIBB) (Spanish National Scientific Research Council – Barcelona Institute of Biomedical Research) Rosselló, 149-153 Generalitat de Catalunya – Departament d’Economia i Coneixement 08036 Barcelona (Catalan Autonomous Government – Ministry for the Economy www.idibaps.org and Knowledge) Published by: IDIBAPS Rosselló, 149-153 – 08036 Barcelona Editorial Board: Dr Ramon Gomis, IDIBAPS Director Dr Joan Rodés, Member of the IDIBAPS Scientific Council Dr Pastora Martínez, IDIBAPS Managing Director Mrs Teresa Peña, Fundació Clínic Research Management Office Mrs Sandra Vidal, Fundació Clínic Technical Office Mrs Gemma Pedrola, IDIBAPS Assistant to the Director Mr Àlex Argemí, IDIBAPS Communication Officer Production and design: BPMO Edigrup C/ Guitard, 43, 1ª planta 08014 Barcelona Tel.: 933 637 840 www.bpmoedigrup.com Legal Deposit: B-47.798-2005 Centres de recerca de Catalunya IDIBAPS is accredited as a Health This centre has been cofinanced by the European Union through Care Research Institute by the the European Regional Development Fund (ERDF) Carlos III Health Institute INDEX Foreword IDIBAPS • INTRODUCTION ................................................................................................................................................................................... 8 • IDIBAPS RESEARCH AND INNOVATION ............................................................................................................................................. 14 • SCIENTIFIC CORE FACILITIES .............................................................................................................................................................. 30 • NETWORKING ..................................................................................................................................................................................... 38 • TRAINING ............................................................................................................................................................................................ 51 • IDIBAPS AND SOCIETY ........................................................................................................................................................................ 55 1 AREA 1 BIOLOGICAL AGGRESSION AND RESPONSE MECHANISM ............................................................................................ 56 2 AREA 2 RESPIRATORY, CARDIOVASCULAR, RENAL AND PATHOBIOLOGY BIOENGINEERING .................................................... 96 3 AREA 3 LIVER, DIGESTIVE SYSTEM AND METABOLISM .............................................................................................................. 140 4 AREA 4 CLINICAL AND EXPERIMENTAL NEUROSCIENCE ............................................................................................................. 196 5 AREA 5 ONCOLOGY AND HAEMATOLOGY .................................................................................................................................... 254 Transversal research groups ..................................................................................................................................... 308 Index • TEAM LEADERS INDEX ....................................................................................................................................................................... 321 6 August Pi i Sunyer (Barcelona 1879 – Mexico 1965), eminent doctor and politician who changed the entire course of biomedicine and politics in this country, after whom this Institute is named. The Institut d’Investigacions Biomèdiques August Pi i Sunyer (IDIBAPS) is a public research centre dedicated to translational research in the field of biomedicine. It aims to integrate state-of-the-art basic research and quality clinical research in order to acquire and transfer knowledge concerning the main health problems present in our society, with the final purpose of improving their prevention and treatment. Inno- vation and technological progress are therefore essential lines of activity at IDIBAPS. The IDIBAPS task force combines more than 460 researchers, making IDIBAPS probably one of the most powerful translational research centres in Spain. IDIBAPS is located in a melting pot for biomedical research, Barcelona Clinic Campus. The University of Barcelona School of Medicine and Barcelona’s Hospital Clínic are found in the same area. This institutional combination is ideal for creating powerful synergies and ensuring that the IDIBAPS research is efficiently trans- ferred to the patient and included in the training of new health professionals. The Centre’s research activities are divided into five different areas which group over 59 top-level research teams and over 460 investigators. IDIBAPS’ researchers are distributed into the following fields of activity: Biological Aggression and Response Mechanisms (Area 1), Respiratory, Cardiovascular and Renal Pathobiology and Bio- engineering (Area 2), Liver, Digestive System and Metabolism (Area 3), Clinical and Experimental Neuroscience (Area 4), and Oncology and Haematology (Area 5). The data presented in this Annual Scientific Report detail the ever-growing scien- tific output led by IDIBAPS’ investigators, and their capacity for attracting public and private funding. In 2011, they reached a new record, with 906 original articles published in high-impact-factor scientific journals. This is only possible thanks to hard work, enthusiasm and infrastructures such as the recently built Esther Kop- lowitz Research Centre or the soon-to-be-finished CELLEX Research Centre. This enormous potential for capturing resources and their conversion into results ap- plicable to clinical practice constitute the best guarantee for securing the future of the Institute. Scientific breakthroughs are never the result of chance. They are long-term com- mitments that involve not only researchers, but also society as a whole. IDIBAPS is a consortium that undertakes such a commitment in Catalonia: to encourage translational research, innovation and technological progress in the field of biomed- icine through different programmes addressing diseases with a high prevalence, and high morbidity and mortality rates. 7 INTRODUCTION Esther Koplowitz Research Centre (CEK) – Patronage to continue innovating In order to guarantee financial stability and ensure con- Salud Carlos III) and the University of Barcelona (Uni- tinuity, IDIBAPS recognizes that the financing of R&D versitat de Barcelona), as well as the support of other and research institutes should not only come from patrons such as the Esther Koplowitz Foundation, public agencies but also from private funding institu- the Cellex Private Foundation, Sardà Farriol Action for tions. Therefore, fundraising is extremely important Diabetes Research (Acción Sardà Farriol para la Inves- at two levels: at the researcher level to finance their tigación en Diabetes) and Laboratoris Esteve. own research and at the institutional level to be able to finance strategic infrastructures and interventions. The Funded with a capital contribution of €15 million from ability to obtain private funds is also a reflection of the the Esther Koplowitz Foundation to the Clínic Foun- quality and prestige of the institution and its research- dation, the investment in the building exceeds €50 ers. In this aspect, IDIBAPS and its researchers also million. With space for more than 350 researchers, have a good track record of obtaining private funds. In the CEK receives international scientists and PhD stu- recent years, around €35 million has been obtained at dents, thus fostering the exchange of experience and the institutional level, enabling the acquisition of new professional cooperation. In 2011, it reached its full equipment, the construction of new lab facilities and operating capacity. the modernisation of the old ones. The CEK building houses a large number of the The Esther Koplowitz Research Centre (CEK) is a IDIBAPS teams, covering a massive range of research wonderful example of public and private co-respon- lines. The biomedical progress achieved in the CEK sibility, since it benefits from the participation of the has its grounds in the history and the top-level re- Catalan Autonomous Government (Generalitat de search developed by IDIBAPS over the years. The Catalunya), the Spanish Ministry for the Economy and multitude of international researchers that combine Competitiveness (Ministerio de Economía y Competi- their efforts in the new facilities allows us to look to tividad), the Carlos III Health Institute (Instituto de the future with hope and enthusiasm. 8 INTRODUCTION Management Report 1. Funding of IDIBAPS. IDIBAPS funding in 2011 to- 2. Resource volume generated by the IDIBAPS re- talled more than €21 million. Twenty-seven percent searchers. This is a very significant
Recommended publications
  • El Barcelona C Juega Ma!, Pero Es El Líder
    El Barcelona C juega ma!, pero es el líder Ketxus, a dos minutos ( JORDI COSTA. BARCELONA ) del final, púdo inclinarO 1 Barcelona C se pone líder de forma provisional a pesar de su decepcio la balanza a favor de la nante empate con el Tárrega. El pri mer tiempo fue horrible, el fútbol.brilló por su escuadra de Tárreqa ausencia y no hubo oprtunidades en ninguna de las dos porterías. Con este panorama, el único modo de que llegara un gol debía ser un accidente; y así resultó. En el minuto 13 Barcelona C. 1 Roger lanzó una falta que, tras rebotar en Carrión, sorprendió a Jose. ,,IGUALDAD Iárrega Barça C y Tárrega ofrecieron un pobre espectáculo • FOTO. PEP MORATA Tras el descanso, la decoracion no vario en ____________ viRrittlíííaésasdí Estadio:y Mini Es a i absoluto, los azulgrana continuaban tenien ‘37i32’ Espectadores: 500 do el balón pero sus acciones carecían de • a u ‘5. ‘i vtLñrtSiLLt!ibíC, ‘úu7iíStPi iíTt” u( verticalidad y velocidad. El Tárrega sé encon Jose (2), Raúl (1), Cerrón (2), Arumí (3), David ( ), Gorka tró con dos oportunidades que hubieran podi Primera ‘X’ en 37 Oscar (2), Puigdollers (1), Edu (3), Soteras (2), Roger (3), Avenida do Navarra. 12.00 horas Narcís Sala . 12.00 horas (2), Mario (1), Alberto (2), óscar Hernández (2), Ketx do sentenciar el choque, pero Figueres y Ra Sergio Su tamu ia (a), 1: o (2) (2), Figueras (2), md (2), món no estuvieron finos. Justo cuando peor 1 el Mini Estadi D rama por todo Creixeil quiere y Moha (4) Tomás (1) y Ramón (2).
    [Show full text]
  • An Advanced Path Tracing Architecture for Movie Rendering
    RenderMan: An Advanced Path Tracing Architecture for Movie Rendering PER CHRISTENSEN, JULIAN FONG, JONATHAN SHADE, WAYNE WOOTEN, BRENDEN SCHUBERT, ANDREW KENSLER, STEPHEN FRIEDMAN, CHARLIE KILPATRICK, CLIFF RAMSHAW, MARC BAN- NISTER, BRENTON RAYNER, JONATHAN BROUILLAT, and MAX LIANI, Pixar Animation Studios Fig. 1. Path-traced images rendered with RenderMan: Dory and Hank from Finding Dory (© 2016 Disney•Pixar). McQueen’s crash in Cars 3 (© 2017 Disney•Pixar). Shere Khan from Disney’s The Jungle Book (© 2016 Disney). A destroyer and the Death Star from Lucasfilm’s Rogue One: A Star Wars Story (© & ™ 2016 Lucasfilm Ltd. All rights reserved. Used under authorization.) Pixar’s RenderMan renderer is used to render all of Pixar’s films, and by many 1 INTRODUCTION film studios to render visual effects for live-action movies. RenderMan started Pixar’s movies and short films are all rendered with RenderMan. as a scanline renderer based on the Reyes algorithm, and was extended over The first computer-generated (CG) animated feature film, Toy Story, the years with ray tracing and several global illumination algorithms. was rendered with an early version of RenderMan in 1995. The most This paper describes the modern version of RenderMan, a new architec- ture for an extensible and programmable path tracer with many features recent Pixar movies – Finding Dory, Cars 3, and Coco – were rendered that are essential to handle the fiercely complex scenes in movie production. using RenderMan’s modern path tracing architecture. The two left Users can write their own materials using a bxdf interface, and their own images in Figure 1 show high-quality rendering of two challenging light transport algorithms using an integrator interface – or they can use the CG movie scenes with many bounces of specular reflections and materials and light transport algorithms provided with RenderMan.
    [Show full text]
  • Sony Pictures Imageworks Arnold
    Sony Pictures Imageworks Arnold CHRISTOPHER KULLA, Sony Pictures Imageworks ALEJANDRO CONTY, Sony Pictures Imageworks CLIFFORD STEIN, Sony Pictures Imageworks LARRY GRITZ, Sony Pictures Imageworks Fig. 1. Sony Imageworks has been using path tracing in production for over a decade: (a) Monster House (©2006 Columbia Pictures Industries, Inc. All rights reserved); (b) Men in Black III (©2012 Columbia Pictures Industries, Inc. All Rights Reserved.) (c) Smurfs: The Lost Village (©2017 Columbia Pictures Industries, Inc. and Sony Pictures Animation Inc. All rights reserved.) Sony Imageworks’ implementation of the Arnold renderer is a fork of the and robustness of path tracing indicated to the studio there was commercial product of the same name, which has evolved independently potential to revisit the basic architecture of a production renderer since around 2009. This paper focuses on the design choices that are unique which had not evolved much since the seminal Reyes paper [Cook to this version and have tailored the renderer to the specic requirements of et al. 1987]. lm rendering at our studio. We detail our approach to subdivision surface After an initial period of co-development with Solid Angle, we tessellation, hair rendering, sampling and variance reduction techniques, decided to pursue the evolution of the Arnold renderer indepen- as well as a description of our open source texturing and shading language components. We also discuss some ideas we once implemented but have dently from the commercially available product. This motivation since discarded to highlight the evolution of the software over the years. is twofold. The rst is simply pragmatic: software development in service of lm production must be responsive to tight deadlines CCS Concepts: • Computing methodologies → Ray tracing; (less the lm release date than internal deadlines determined by General Terms: Graphics, Systems, Rendering the production schedule).
    [Show full text]
  • Production Global Illumination
    CIS 497 Senior Capstone Design Project Project Proposal Specification Instructors: Norman I. Badler and Aline Normoyle Production Global Illumination Yining Karl Li Advisor: Norman Badler and Aline Normoyle University of Pennsylvania ABSTRACT For my project, I propose building a production quality global illumination renderer supporting a variety of com- plex features. Such features may include some or all of the following: texturing, subsurface scattering, displacement mapping, deformational motion blur, memory instancing, diffraction, atmospheric scattering, sun&sky, and more. In order to build this renderer, I propose beginning with my existing massively parallel CUDA-based pathtracing core and then exploring methods to accelerate pathtracing, such as GPU-based stackless KD-tree construction, and multiple importance sampling. I also propose investigating and possible implementing alternate GI algorithms that can build on top of pathtracing, such as progressive photon mapping and multiresolution radiosity caching. The final goal of this project is to finish with a renderer capable of rendering out highly complex scenes and anima- tions from programs such as Maya, with high quality global illumination, in a timespan measuring in minutes ra- ther than hours. Project Blog: http://yiningkarlli.blogspot.com While competing with powerhouse commercial renderers 1. INTRODUCTION like Arnold, Renderman, and Vray is beyond the scope of this project, hopefully the end result will still be feature- Global illumination, or GI, is one of the oldest rendering rich and fast enough for use as a production academic ren- problems in computer graphics. In the past two decades, a derer suitable for usecases similar to those of Cornell's variety of both biased and unbaised solutions to the GI Mitsuba render, or PBRT.
    [Show full text]
  • On Dean W. Arnold's Writing . . . UNKNOWN EMPIRE Th E True Story of Mysterious Ethiopia and the Future Ark of Civilization “
    On Dean W. Arnold’s writing . UNKNOWN EMPIRE T e True Story of Mysterious Ethiopia and the Future Ark of Civilization “I read it in three nights . .” “T is is an unusual and captivating book dealing with three major aspects of Ethiopian history and the country’s ancient religion. Dean W. Arnold’s scholarly and most enjoyable book sets about the task with great vigour. T e elegant lightness of the writing makes the reader want to know more about the country that is also known as ‘the cradle of humanity.’ T is is an oeuvre that will enrich our under- standing of one of Africa’s most formidable civilisations.” —Prince Asfa-Wossen Asserate, PhD Magdalene College, Cambridge, and Univ. of Frankfurt Great Nephew of Emperor Haile Selassie Imperial House of Ethiopia OLD MONEY, NEW SOUTH T e Spirit of Chattanooga “. chronicles the fascinating and little-known history of a unique place and tells the story of many of the great families that have shaped it. It was a story well worth telling, and one well worth reading.” —Jon Meacham, Editor, Newsweek Author, Pulitzer Prize winner . THE CHEROKEE PRINCES Mixed Marriages and Murders — Te True Unknown Story Behind the Trail of Tears “A page-turner.” —Gordon Wetmore, Chairman Portrait Society of America “Dean Arnold has a unique way of capturing the essence of an issue and communicating it through his clear but compelling style of writing.” —Bob Corker, United States Senator, 2006-2018 Former Chairman, Senate Foreign Relations Committee THE WIZARD AND THE LION (Screenplay on the friendship between J.
    [Show full text]
  • Nvidia Rtx™ Server for Bare Metal Rendering with Autodesk Arnold 5.3.0.0 on @Xi 4029Gp- Trt2 Design Guide
    NVIDIA RTX™ SERVER FOR BARE METAL RENDERING WITH AUTODESK ARNOLD 5.3.0.0 ON @XI 4029GP- TRT2 DESIGN GUIDE VERSION: 1.0 TABLE OF CONTENTS Chapter 1. SOLUTION OVERVIEW ....................................................................... 1 1.1 NVIDIA RTX Server Overview ........................................................................... 1 Chapter 2. SOLUTION DETAILS .......................................................................... 2 2.1 Solution Configuration .................................................................................. 3 | ii Chapter 1. SOLUTION OVERVIEW Designed and tested through multi-vendor cooperation between NVIDIA and its system and ISV partners, NVIDIA RTX™ Server provides a trusted environment for artists and designers to create professional, photorealistic images for the Media & Entertainment; Architecture, Engineering & Construction; and Manufacturing & Design industries. 1.1 NVIDIA RTX SERVER OVERVIEW Introduction: Content production is undergoing a massive surge as render complexity and quality increases. Designers and artists across industries continually strive to produce more visually rich content faster than ever before, yet find their creativity and productivity bound by inefficient CPU- based render solutions. NVIDIA RTX Server is a validated solution that brings GPU-accelerated power and performance to deliver the most efficient end-to-end rendering solution, from interactive sessions in the desktop to final batch rendering in the data center. Audience: The audience for this document
    [Show full text]
  • Arnold Features
    Arnold features Memory-efficient, scalable raytracer rendering software helps artists render complex scenes quickly and easily. See what's new (video: 2:31 min.) Get feature details in the Arnold for Maya, Houdini, Cinema 4D, 3ds Max, or Katana user guides Subsurface scatter Hair and fur High-performance ray-traced subsurface Memory-efficient ray-traced curve primitives help scattering eliminates the need to tune point you create complex fur and hair renders. clouds. Motion blur Volumes 3D motion blur interacts with shadows, volumes, The volumetric rendering system in Arnold can indirect lighting, reflection, or refraction. render effects such as smoke, clouds, fog, Deformation motion blur and rotational motion are pyroclastic flow, and fire. also supported. Instances Subdivision and displacement Arnold can more efficiently ray trace instances of Arnold supports Catmull-Clark subdivision many scene objects with transformation and surfaces. material overrides. OSL support Light Path Expressions Arnold now features support for Open Shading LPEs give you power and flexibility to create Language (OSL), an advanced shading language Arbitrary Output Variables to help meet the needs for Global Illumination renderers. of production. NEW | Adaptive sampling NEW | Toon shader Adaptive sampling gives users another means of An advanced Toon shader is part of a non- tuning images, allowing them to reduce render photorealistic solution provided in combination times without jeopardizing final image quality. with the Contour Filter. NEW | Denoising NEW | Material assignments and overrides Two denoising solutions in Arnold offer flexibility Operators make it possible to override any part of by allowing users to use much lower-quality a scene at render time and enable support for sampling settings.
    [Show full text]
  • Applying Movie-Industry Tools and Techniques to Data Visualization
    Guillermo Marin Data Analytics and Visualization Group VIRTUAL HUMANS Hyper-realistic visualisations of computer simulations BSC-SurfSara-LRZ Hyper-realistic visualisations of computer simulations Photo Scientists General public High-end visualisations of computer simulations ALYA RED ALYA RED CAMPANIAN IGNIMBRITE Scientific Reports 6, Article number: 21220 (2016) BSC Viz Team Super nice visualisations of computer simulations What we do Photo-real renders of DATA Used in short movies and still images For general public and/or peers & Why we do it Maximise impact Increase memorability BSC Viz Team Bateman, Useful junk?, 2573-2582 HOW? Film industry tools are amazing To achieve it, we need artist level Film industry people too of control over camera, light, textures, animation, and render quality Beautiful AND accurate ➡ Have scientists and artists work together ➡ Convert data from scientific software/format into animation industry standards Production pipeline Typical pipeline in animation with a few extra steps for DATA Pre-production Production Post production Script Modeling Sound & Music Data Analysis & Documentation Animation Color correction Conversion Data Casting Render Compositing Production pipeline Pre-production Production Post production Script Data Analysis & Modeling Sound & Music Documentation Conversion Animation Color correction Data Casting Inspect data in Render Compositing Sci-Viz software Data forensics if necessary Harris, S. University of Leeds Production pipeline Pre-production Production Post production Script Data
    [Show full text]
  • Introducing Arnold Single-User Questions and Answers
    Introducing Arnold Single-User Questions and Answers Overview There’s a new way to buy Arnold. Monthly, annual, and 3-year single-user subscriptions of Arnold are now available on the Autodesk e-store, simplifying the process of subscribing to, accessing, installing, and renewing Arnold. Moving the Arnold buying experience to the Autodesk e-store means you now get immediate access to your software when you subscribe, and you no longer have to install and configure multi-user license servers when you only need a single seat. Annual and 3-year single-user licenses are now also available from authorized Autodesk resellers, in addition to annual and 3-year multi-user licenses. Questions and Answers 1. What are my subscription options? There are several ways to subscribe to Arnold. If you are an individual artist or small studio rendering on a local network of workstations, your best option is to get a monthly, annual, or 3-year single-user subscription on the Autodesk e-store. Arnold will no longer be available for purchase from the Arnold website (arnoldrenderer.com). Upon subscribing to Arnold on the e-store, you will be prompted to create an Autodesk Account where you can access your subscription. If you are using Arnold on a render farm and require multi-user licenses, you can purchase annual and 3-year multi-user subscriptions from an authorized reseller. Arnold is also available for pay-per-use on the following cloud rendering platforms: AWS Thinkbox Marketplace, Microsoft Azure, Zync Render on Google Cloud Platform, and Conductor Technologies. 2. What do you mean by “single-user”? With a single-user subscription, it’s now possible to simply sign into your Autodesk account to access and start using Arnold.
    [Show full text]
  • Multimodal MRI Study of Human Brain Connectivity: Cognitive Networks
    Multimodal MRI Study of Human Brain Connectivity: Cognitive Networks Roser Sala Llonch Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – Sen seObraDerivada 3.0. Espanya de Creative Commons . Esta tesis doctoral está sujeta a la licencia Reconoc imiento - NoComercial – SinObr aDerivada 3.0. Esp aña de Creative Commons. This doctoral thesis is licensed under the Cre ative Commons Attribution- NonCommercial- NoDeriv s 3.0. Spa in License . Multimodal MRI Study of Human Brain Connectivity: Cognitive Networks Thesis presented by: Roser Sala Llonch to obtain the degree of doctor from the University of Barcelona in accordance with the requirements of the international PhD diploma Supervised by: Dr. Carme Junque´ Plaja, and Dr. David Bartres´ Faz Department of Psychiatry and Clinical Psychobiology Medicine Doctoral Program University of Barcelona 2014 A les meves `avies Barcelona, 13 November 2014 Dr. Carme Junque´ Plaja and Dr. David Bartres´ Faz, Professors at the University of Barcelona, CERTIFY that they have guided and supervised the doctoral thesis entitled ’ Multimodal MRI Study of Human Brain Connectivity: Cog- nitive Networks’ presented by Roser Sala Llonch. They hereby assert that this thesis fulfils the requirements to present her defense to be awarded the title of doctor. Signatures, Dr Carme Junque´ Plaja Dr. David Bartres´ Faz This thesis has been undertaken in the Neuropsychology Group of the Department of Psychiatry and Clinical Psychobiology, Faculty of Medicine, University of Barcelona. The group is a consolidated re- search group by the Generalitat de Catalunya ( grants 2009 SGR941 and 2014 SGR98) and it is part of the Institut d’Investigacions Biom`ediques August Pi i Sunyer (IDIBAPS).
    [Show full text]
  • TAP Animator Creed: Virtual Learning Edition
    TAP Animator Creed: Virtual Learning Edition 1 we show respect 4 we participate We are a team. We live up to the same We speak up; we ask for help when we need it. expectations as we would in person. ….. 2 we take care of our technology 5 we own the content We respect all equipment. We mute ourselves This is our class. This is our opportunity to learn when we are not speaking. We do not talk over more about the animation field. our teammates. ……………………………. 3 we focus 6 we attend class We have a lot to learn. ALL our attention is Our voices and ideas are valued. We log into focused on the class. We do our best to limit class on time and stay until the end whenever distractions around us. We wear headphones if possible. possible. Welcome to The Made In New York Animation Project NeON Summer Edition! Session 10 - Rendering Opening Share Verbally or in the Chat: What is one aspect of yourself that you want to present to the world? Technical Lesson: Rendering Terminology What is a “render”? Easy Answer Complicated Answer Whatever is on the computer screen! Whatever your 3D camera is told to look at will appear in your “render”. What are “render formats”? The Eternal Conflict: JPEG vs PNG JPEG - compressed image most PNG - a compressed Portable commonly used in articles on the web Networks Graphic image with an “Alpha layer” Alpha Layer the “blank space” in a picture that appears “clear” or transparent What is an “image sequence”? Easy Answer Complicated Answer A bunch of pictures that make a “Image sequences” are a series of movie or animation like a flipbook! renders in JPEG, PNG or other image formats that render faster and can be corrected easier than rendering a video format; ex.
    [Show full text]
  • Photorealistic Rendering for Live-Action Video Integration David E
    East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2017 Photorealistic Rendering for LIve-Action Video Integration David E. Hirsh East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Interdisciplinary Arts and Media Commons Recommended Citation Hirsh, David E., "Photorealistic Rendering for LIve-Action Video Integration" (2017). Undergraduate Honors Theses. Paper 399. https://dc.etsu.edu/honors/399 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 1 Table of Contents Abstract 3 Introduction 4 MentalRay 4 RenderMan 5 Arnold 6 Nuke Tracking and Compositing 7 Problem Solving 9 Conclusion 10 2 Abstract Exploring the creative and technical process of rendering realistic images for integration into live action footage. 3 Introduction When everything in today’s entertainment world is comprised of mostly visual effects, it only made sense to focus both my collegiate studies as well as my senior honors thesis on this field. In this paper, the reader will learn of the workflow needed to achieve realistic 3D rendering and its integration into live-action video. This paper is structured chronologically and explores my creation process and how this project has evolved, while providing image documentation from the many iterations it has undergone. MentalRay The work on this bottle initially began in 2015 for a Lighting and Rendering class my junior year.
    [Show full text]