An Automated Build System for Articulated Characters James Sledge Clemson University, [email protected]
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The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
NCSA Access Magazine
CONTACTS NCSA Contacts Directory http://www.ncsa.uiuc.edu/Generai/NCSAContacts.html Allocations Education & Outreach Division Orders for Publications, http://www.ncsa.uiuc.edu/Generai/A IIocations/ApplyTop.html http://www.ncsa.uiuc.edu/edu/EduHome.html NCSA Software, and Multimedia Radha Nandkumar John Ziebarth, Associate Director http://www.ncsa.uiuc.edu/Pubs/ 217-244-0650 217-244-1961 TechResCatalog/TRC.TOC.html [email protected] [email protected] Debbie Shirley [email protected] Applications Division/Faculty Program Education http://www.ncsa.uiuc.ed u/Apps/Apps lntro.html Scott Lathrop Public Information Office Melanie Loots, Associate Director 217-244-1099 http://www.ncsa.uiuc.edu/General/ 217-244-2921 [email protected] PIO/NCSAinfo.html [email protected] i uc.edu John Melchi Outreach 217-244-3049 Al lison Clark (information) Alai na Kanfer 217-244-8195 fax 217-244-0768 217-244-0876 [email protected] [email protected] i uc.edu [email protected] Publications Group Visitors Program Training http://www.ncsa.uiuc.edu/Pubs/ jean Soliday http://www.ncsa.uiuc.edu/General/ Pubslntro.html 217-244-1972 Training/training_homepage.html Melissa Johnson [email protected] u Mary Bea Walker 217-244-0645 217-244-9883 melissaj@ncsa .uiuc.edu Computing & Communications Division mbwalker@ncsa .uiuc.edu http://www.ncsa.uiuc.edu/Generai/CC/CCHome.html Software Development Division Charles Catlett, Associate Director Industrial Program http ://www.ncsa.uiuc.edu/SDG/SDGintro.html 217-333-1163 http://www.ncsa.uiuc.edu/General/lndusProg/ joseph Hardin, Associate Director [email protected] lndProg.html 217-244-7802 John Stevenson, Corporate Officer hardin@ncsa .uiuc.edu Ken Sartain (i nformation) 217-244-0474 217-244-0103 [email protected] jae Allen (information) sartain@ ncsa.u iuc.edu 217-244-3364 Marketing Communications Division [email protected] Consulting Services http://www.ncsa.uiuc.edu/Generai/MarComm/ http://www.ncsa. -
4010, 237 8514, 226 80486, 280 82786, 227, 280 a AA. See Anti-Aliasing (AA) Abacus, 16 Accelerated Graphics Port (AGP), 219 Acce
Index 4010, 237 AIB. See Add-in board (AIB) 8514, 226 Air traffic control system, 303 80486, 280 Akeley, Kurt, 242 82786, 227, 280 Akkadian, 16 Algebra, 26 Alias Research, 169 Alienware, 186 A Alioscopy, 389 AA. See Anti-aliasing (AA) All-In-One computer, 352 Abacus, 16 All-points addressable (APA), 221 Accelerated Graphics Port (AGP), 219 Alpha channel, 328 AccelGraphics, 166, 273 Alpha Processor, 164 Accel-KKR, 170 ALT-256, 223 ACM. See Association for Computing Altair 680b, 181 Machinery (ACM) Alto, 158 Acorn, 156 AMD, 232, 257, 277, 410, 411 ACRTC. See Advanced CRT Controller AMD 2901 bit-slice, 318 (ACRTC) American national Standards Institute (ANSI), ACS, 158 239 Action Graphics, 164, 273 Anaglyph, 376 Acumos, 253 Anaglyph glasses, 385 A.D., 15 Analog computer, 140 Adage, 315 Anamorphic distortion, 377 Adage AGT-30, 317 Anatomic and Symbolic Mapper Engine Adams Associates, 102 (ASME), 110 Adams, Charles W., 81, 148 Anderson, Bob, 321 Add-in board (AIB), 217, 363 AN/FSQ-7, 302 Additive color, 328 Anisotropic filtering (AF), 65 Adobe, 280 ANSI. See American national Standards Adobe RGB, 328 Institute (ANSI) Advanced CRT Controller (ACRTC), 226 Anti-aliasing (AA), 63 Advanced Remote Display Station (ARDS), ANTIC graphics co-processor, 279 322 Antikythera device, 127 Advanced Visual Systems (AVS), 164 APA. See All-points addressable (APA) AED 512, 333 Apalatequi, 42 AF. See Anisotropic filtering (AF) Aperture grille, 326 AGP. See Accelerated Graphics Port (AGP) API. See Application program interface Ahiska, Yavuz, 260 standard (API) AI. -
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. -
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. -
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. -
Softimage|Xsi
Installation Guide For Windows® Systems Copyright and Disclaimer © 2009 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. The following are registered trademarks or trademarks of Autodesk, Inc., in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Create>what's>Next> (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design|Studio (design/logo), Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Filmbox, Fire, Flame, Flint, FMDesktop, Freewheel, -
HP and Autodesk Create Stunning Digital Media and Entertainment with HP Workstations
HP and Autodesk Create stunning digital media and entertainment with HP Workstations. Does your workstation meet your digital Performance: Advanced compute and visualization power help speed your work, beat deadlines, and meet expectations. At the heart of media challenges? HP Z Workstations are the new Intel® processors with advanced processor performance technologies and NVIDIA Quadro professional It’s no secret that the media and entertainment industry is constantly graphics cards with the NVIDIA CUDA parallel processing architecture; evolving, and the push to deliver better content faster is an everyday delivering real-time previewing and editing of native, high-resolution challenge. To meet those demands, technology matters—a lot. You footage, including multiple layers of 4K video. Intel® Turbo Boost1 need innovative, high-performing, reliable hardware and software tools is designed to enhance the base operating frequency of processor tuned to your applications so your team can create captivating content, cores, providing more processing speed for single and multi-threaded meet tight production schedules, and stay on budget. HP offers an applications. The HP Z Workstation cooling design enhances this expansive portfolio of integrated workstation hardware and software performance. solutions designed to maximize the creative capabilities of Autodesk® software. Together, HP and Autodesk help you create stunning digital Reliability: HP product testing includes application performance, media. graphics and comprehensive ISV certification for maximum productivity. All HP Workstations come with a limited 3-year parts, 3-year labor and The HP Difference 3-year onsite service (3/3/3) standard warranty that is extendable up to 5 years.2 You can be confident in your HP and Autodesk solution. -
3D Computer Graphics Compiled By: H
animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between -
Mental Ray Standalone for Autodesk Maya , Autodesk 3Ds Max And
mental ray® Standalone For Autodesk® Maya®, Autodesk® 3ds Max® and Autodesk® Softimage® Software Frequently Asked Questions 1. What is mental ray Standalone? mental ray® Standalone is an offline rendering product. It works independently of Autodesk® Maya® software, Autodesk® 3ds Max® software, and Autodesk® Softimage® software through a command-line interface, or acts as the foundation of distributed rendering solution when used with Maya, 3ds Max or Softimage. mental ray Standalone is used primarily when additional rendering capabilities are required beyond the built-in mental ray capabilities of certain other Autodesk applications. mental ray is typically used in an internal render farm setup and can be used to supplement and accelerate interactive rendering (for example, Maya software’s interactive photorealistic rendering). 2. What is the latest version of mental ray Standalone available? mental ray Standalone 3.7.53 (3.7.5x) for Maya 2010. mental ray Standalone 3.7+ for 3ds Max 2010 and Autodesk® 3ds Max® Design 2010. mental ray Standalone 3.7.55 (3.7.5x) for Softimage 2010. For mental ray compatibility with earlier versions of Autodesk products please see the compatibility table. 3. Will the mental ray Standalone that I use with Autodesk Maya work with Autodesk 3ds Max or Autodesk Softimage? No. mental ray Standalone for Maya is not compatible with 3ds Max software or with Softimage software. Separate versions of mental ray Standalone exist: one for Maya, one for 3ds Max and one for Softimage. For more information on mental ray compatibility with other Autodesk applications, consult the compatibility table. 4. Why are there different versions of mental ray Standalone? Each version contains the appropriate installer, licensing, and most importantly the shader libraries associated with the software in use. -
Autodesk® 3Ds Max® 2016 Essentials
AUTODESK® 3DS MAX® 2016 ESSENTIALS AUTODESK® 3DS MAX® 2016 ESSENTIALS Randi L. Derakhshani Dariush Derakhshani Acquisitions Editor: Stephanie McComb Development Editor: Clark David Technical Editor: Jon McFarland Production Editor: Joel Jones Copy Editor: Kathy Grider-Carlyle Editorial Manager: Mary Beth Wakefield Production Manager: Kathleen Wisor Associate Publisher: Jim Minatel Proofreader: Kathryn Duggan Indexer: Nancy Guenther Project Coordinator, Cover: Brent Savage Cover Designer: Wiley Cover Image: Courtesy of Dariush Derakhshani; Back Cover Images: Courtesy of Randi L. Derakhshani Copyright © 2015 by John Wiley & Sons, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-1-119-05976-9 ISBN: 978-1-119-05990-5 (ebk.) ISBN: 978-1-119-05989-9 (ebk.) No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for per- mission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: The publisher and the authors make no representations or war- ranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. -
007-2006-100 Contributors
Indigo Magic™ Desktop Integration Guide Document Number 007-2006-100 CONTRIBUTORS Written by Beth Fryer, Jed Hartman, Ken Jones, and Pete Sullivan Illustrated by Beth Fryer and Seth Katz Edited by Christina Cary Production by Derrald Vogt, Cindy Stief, and Linda Rae Sande Engineering contributions by Bob Blean, Susan Dahlberg, Susan Ellis, John Krystynak, Chandra Pisupati, Jack Repenning, CJ Smith, Dave Story, Steve Strasnick, Rebecca Underwood, Steve Yohanan, and Betsy Zeller St Peter’s Basilica image courtesy of ENEL SpA and InfoByte SpA. Disk Thrower image courtesy of Xavier Berenguer, Animatica. © Copyright 1994, 1995, 1996 Silicon Graphics, Inc.— All Rights Reserved The contents of this document may not be copied or duplicated in any form, in whole or in part, without the prior written permission of Silicon Graphics, Inc. RESTRICTED RIGHTS LEGEND Use, duplication, or disclosure of the technical data contained in this document by the Government is subject to restrictions as set forth in subdivision (c) (1) (ii) of the Rights in Technical Data and Computer Software clause at DFARS 52.227-7013 and/or in similar or successor clauses in the FAR, or in the DOD or NASA FAR Supplement. Unpublished rights reserved under the Copyright Laws of the United States. Contractor/manufacturer is Silicon Graphics, Inc., 2011 N. Shoreline Blvd., Mountain View, CA 94039-7311. Silicon Graphics, the Silicon Graphics logo, and IRIS are registered trademarks and IRIS, IRIS GL, IRIS IM, IRIS InSight, IRIS ViewKit, IRIX, GoldenGate, IconSmith, Indigo Magic, the Graphics Library, OpenGL, Open Inventor, and RapidApp are trademarks of Silicon Graphics, Inc. Apple is a registered trademark and Apple Quicktime is a trademark of Apple Computer, Inc.