Quadremesher™ – User Documentation
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Procedural Content Generation for Games
Procedural Content Generation for Games Inauguraldissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften der Universit¨atMannheim vorgelegt von M.Sc. Jonas Freiknecht aus Hannover Mannheim, 2020 Dekan: Dr. Bernd L¨ubcke, Universit¨atMannheim Referent: Prof. Dr. Wolfgang Effelsberg, Universit¨atMannheim Korreferent: Prof. Dr. Colin Atkinson, Universit¨atMannheim Tag der m¨undlichen Pr¨ufung: 12. Februar 2021 Danksagungen Nach einer solchen Arbeit ist es nicht leicht, alle Menschen aufzuz¨ahlen,die mich direkt oder indirekt unterst¨utzthaben. Ich versuche es dennoch. Allen voran m¨ochte ich meinem Doktorvater Prof. Wolfgang Effelsberg danken, der mir - ohne mich vorher als Master-Studenten gekannt zu haben - die Promotion an seinem Lehrstuhl erm¨oglichte und mit Geduld, Empathie und nicht zuletzt einem mir unbegreiflichen Verst¨andnisf¨ur meine verschiedenen Ausfl¨ugein die Weiten der Informatik unterst¨utzthat. Sie werden mir nicht glauben, wie dankbar ich Ihnen bin. Weiterhin m¨ochte ich meinem damaligen Studiengangsleiter Herrn Prof. Heinz J¨urgen M¨ullerdanken, der vor acht Jahren den Kontakt zur Universit¨atMannheim herstellte und mich ¨uberhaupt erst in die richtige Richtung wies, um mein Promotionsvorhaben anzugehen. Auch Herr Prof. Peter Henning soll nicht ungenannt bleiben, der mich - auch wenn es ihm vielleicht gar nicht bewusst ist - davon ¨uberzeugt hat, dass die Erzeugung virtueller Welten ein lohnenswertes Promotionsthema ist. Ganz besonderer Dank gilt meiner Frau Sarah und meinen beiden Kindern Justus und Elisa, die viele Abende und Wochenenden zugunsten dieser Arbeit auf meine Gesellschaft verzichten mussten. Jetzt ist es geschafft, das n¨achste Projekt ist dann wohl der Garten! Ebenfalls geb¨uhrt meinen Eltern und meinen Geschwistern Dank. -
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. -
Blender Instructions a Summary
BLENDER INSTRUCTIONS A SUMMARY Attention all Mac users The first step for all Mac users who don’t have a three button mouse and/or a thumb wheel on the mouse is: 1.! Go under Edit menu 2.! Choose Preferences 3.! Click the Input tab 4.! Make sure there is a tick in the check boxes for “Emulate 3 Button Mouse” and “Continuous Grab”. 5.! Click the “Save As Default” button. This will allow you to navigate 3D space and move objects with a trackpad or one-mouse button and the keyboard. Also, if you prefer (but not critical as you do have the View menu to perform the same functions), you can emulate the numpad (the extra numbers on the right of extended keyboard devices). It means the numbers across the top of the standard keyboard will function the same way as the numpad. 1.! Go under Edit menu 2.! Choose Preferences 3. Click the Input tab 4.! Make sure there is a tick in the check box for “Emulate Numpad”. 5.! Click the “Save As Default” button. BLENDER BASIC SHORTCUT KEYS OBJECT MODE SHORTCUT KEYS EDIT MODE SHORTCUT KEYS The Interface The interface of Blender (version 2.8 and higher), is comprised of: 1. The Viewport This is the 3D scene showing you a default 3D object called a cube and a large mesh-like grid called the plane for helping you to visualize the X, Y and Z directions in space. And to save time, in Blender 2.8, the camera (left) and light (right in the distance) has been added to the viewport as default. -
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. -
Introduction Infographics 3D Computer Graphics
Planetary Science Multimedia Animated Infographics for Scientific Education and Public Outreach INTRODUCTION INFOGRAPHICS 3D COMPUTER GRAPHICS Visual and graphic representation of scientific knowledge is one of the most effective ways to present The production of infographics are made by using software creation and manipulation of vector The 3D computer graphics are modeled in CAD software like Blender, 3DSMax and Bryce and then complex scientific information in a clear and fast way. Furthermore, the use of animated infographics, graphics, such as Adobe Illustrator, CorelDraw and Inkscape. These programs generate SVG files to be rendered with plugins like Vray, Maxwell and Flamingo for a photorealistic finish. Terrain models are video and computerized graphics becomes a vital tool for education in Planetary Science. Using viewed in the multimedia. taken directly from DTM (Digital Terrain Models) data available of Solar System objects in various infographics resources arouse the interest of new generations of scientists, engineers and general official sources as NASA, ESA, JAXA, USGS, Google Mars and Google Moon. The DTM can also be raised public, and if it visually represents the concepts and data with high scientific rigor, outreach of from topographic maps available online from the same sources, using GIS tools like ArcScene, ArcMap infographics resources multiplies exponentially and Planetary Science will be broadcast with a precise and Global Mapper. conceptualization and interest generated and it will benefit immensely the ability to stimulate the formation of new scientists, engineers and researchers. This multimedia work mixes animated infographics, 3D computer graphics and video with vfx, with the goal of making an introduction to the Planetary Science and its basic concepts. -
3D Data Visualization in Astrophysics Dr
3D Data Visualization in Astrophysics Dr. Brian R. Kent National Radio Astronomy Observatory http://www.cv.nrao.edu/~bkent/blender http://iopscience.iop.org/journal/1538-3873/page/Techniques-and-Methods-for-Astrophysical-Data-Visualization Overview ● What we want to get out of 3D data visualization ● Types of visualizations when rendering 3D graphics ● How we can leverage Blender for 3D viz ● Examples Dr. Brian R. Kent (NRAO) ADASS 2018 Astrophysical Phenomena What do we want when visualizing our data in 3D? ● Effectively display a discovery, principle, data characteristics, or parameter space ● Show a data perspective not otherwise seen ● Collapse a high N phase space into a 3D animation ● Visuals for EPO Dr. Brian R. Kent (NRAO) ADASS 2018 Types of Data in Astronomy Dr. Brian R. Kent (NRAO) ADASS 2018 Data Volumes in Astronomy Dr. Brian R. Kent (NRAO) ADASS 2018 3D Graphics Software HOUDINI 3D Graphics, Python, and Astronomy I use a non-traditional package called Blender to render different forms of astronomical data - catalogs, data cubes, simulations, etc. Dr. Brian R. Kent (NRAO) ADASS 2018 What is Blender? Blender is: ● 3D graphics software for modeling, animation, and visualization ● Open-source ● a real-time 3D viewer and GUI ● A Python scriptable interface for loading and manipulating data http://www.blender.org Dr. Brian R. Kent (NRAO) ADASS 2018 Publications ● Kent 2013 ● http://adsabs.harvard.edu/abs/2013PASP..125..731K ● Kent 2015 ● http://iopscience.iop.org/book/978-1-6270-5612-0 ● Kent 2017 ● http://adsabs.harvard.edu/abs/2017PASP..129e8004K Elements of 3D Graphics We need to consider: ● Models - physical or data containers? ● Textures - 2D, 3D, and projections? ● Lighting - illumination of data - physical or artistic ● Animation - How will the model move and change? ● Camera control - lens selection, angle, image size, and movement and tracking ● Rendering - backend engine choice ● Compositing - layering final output Dr. -
Powering a New Era of Collaboration and Simulation in Media And
Image Courtesy of ILM SOLUTION SHOWCASE NVIDIA Omniverse™ is a groundbreaking POWERING A NEW ERA OF virtual platform built for collaboration and real-time photorealistic simulation. COLLABORATION AND SIMULATION Studios can now maximize productivity, IN MEDIA AND ENTERTAINMENT enhance communication, and boost creativity while collaborating on the same 3D scenes from anywhere. NVIDIA continues to advance state-of-the-art graphics hardware, and Omniverse showcases what is possible with real-time ray tracing. The potential to improve the creative process through all stages of VFX Built For and animation pipelines will be transformative. > Concept Artists — Francois Chardavoine, VP of Technology, Lucasfilm & Industrial Light & Magic > Modelers > Animators > Texture Artists Challenges in the Media and Entertainment Industry > Lighting or Look Development Artists The Film, Television, and Broadcast industries are undergoing rapid change as new production pipelines are emerging to address the growing demand for high-quality > VFX Artists content in a globally distributed workforce. Additionally, new streaming services are > Motion Designers creating the need for constant releases and refreshes to satisfy a growing subscriber base. > Rendering Specialists NVIDIA Omniverse gives creative teams the ability to create, iterate, and collaborate on Platform Features assets using a variety of creative applications to deliver real-time results. Artists can focus on maximum iterations with no opportunity cost or the need to wait for long render > Compatible with top industry design times to achieve high-quality results. and visualization software > Scalable, works on all NVIDIA RTX™ M&E Use Cases for Omniverse solutions, from the laptop to the data center > Initial Concept Design - Artists can quickly develop and refine conceptual ideas to bring the Director’s vision to life. -
Surrealist Aesthetics
SURREALIST AESTHETICS Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution Peggy Li Auckland University of Technology Master of Design 2020 A thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Design, Digital Design P a g e | 1 Abstract “Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution”, is a practice-based research project focusing on the production of a poetic short film that incorporates surrealist aesthetics with motion capture and digital simulation effects. The project explores surrealist aesthetics using visual effects combined with motion capture techniques to portray the creator’s personal experiences of air pollution within a poetic short film form. This research explicitly portrays this narrative through the filter of the filmmaker’s personal experience, deploying an autoethnographic methodological approach in the process of its creation. The primary thematic contexts situated within this research are surrealist aesthetics, personal experiences and air pollution. The approach adopted for this research was inspired by the author’s personal experiences of feeling trapped in an air-polluted environment, and converting these unpleasant memories using a range of materials, memories, imagination, and the subconscious mind to portray the negative effects of air pollution. The overall aim of this process was to express my experiences poetically using a surrealist aesthetic, applied through -
Critical Review of Open Source Tools for 3D Animation
IJRECE VOL. 6 ISSUE 2 APR.-JUNE 2018 ISSN: 2393-9028 (PRINT) | ISSN: 2348-2281 (ONLINE) Critical Review of Open Source Tools for 3D Animation Shilpa Sharma1, Navjot Singh Kohli2 1PG Department of Computer Science and IT, 2Department of Bollywood Department 1Lyallpur Khalsa College, Jalandhar, India, 2 Senior Video Editor at Punjab Kesari, Jalandhar, India ABSTRACT- the most popular and powerful open source is 3d Blender is a 3D computer graphics software program for and animation tools. blender is not a free software its a developing animated movies, visual effects, 3D games, and professional tool software used in animated shorts, tv adds software It’s a very easy and simple software you can use. It's show, and movies, as well as in production for films like also easy to download. Blender is an open source program, spiderman, beginning blender covers the latest blender 2.5 that's free software anybody can use it. Its offers with many release in depth. we also suggest to improve and possible features included in 3D modeling, texturing, rigging, skinning, additions to better the process. animation is an effective way of smoke simulation, animation, and rendering. Camera videos more suitable for the students. For e.g. litmus augmenting the learning of lab experiments. 3d animation is paper changing color, a video would be more convincing not only continues to have the advantages offered by 2d, like instead of animated clip, On the other hand, camera video is interactivity but also advertisement are new dimension of not adequate in certain work e.g. like separating hydrogen from vision probability. -
Modifing Thingiverse Model in Blender
Modifing Thingiverse Model In Blender Godard usually approbating proportionately or lixiviate cooingly when artier Wyn niello lastingly and forwardly. Euclidean Raoul still frivolling: antiphonic and indoor Ansell mildew quite fatly but redipped her exotoxin eligibly. Exhilarating and uncarted Manuel often discomforts some Roosevelt intimately or twaddles parabolically. Why not built into inventor using thingiverse blender sculpt the model window Logo simple metal, blender to thingiverse all your scene of the combined and. Your blender is in blender to empower the! This model then merging some models with blender also the thingiverse me who as! Cam can also fits a thingiverse in your model which are interchangeably used software? Stl files software is thingiverse blender resize designs directly from the toolbar from scratch to mark parts of the optics will be to! Another method for linux blender, in thingiverse and reusable components may. Svg export new geometrics works, after hours and drop or another one of hobbyist projects its huge user community gallery to the day? You blender model is thingiverse all models working choice for modeling meaning you can be. However in blender by using the product. Open in blender resize it original shape modeling software for a problem indeed delete this software for a copy. Stl file blender and thingiverse all the stl files using a screenshot? Another one modifing thingiverse model in blender is likely that. If we are in thingiverse object you to modeling are. Stl for not choose another source. The model in handy later. The correct dimensions then press esc to animation and exporting into many brands and exported file with the. -
Digital (R)Evolution: Open-Source Softwares for Orthodontics
applied sciences Article Digital (R)Evolution: Open-Source Softwares for Orthodontics Fabio Federici Canova 1,* , Giorgio Oliva 2, Matteo Beretta 1 and Domenico Dalessandri 2 1 Department of Medical and Surgical Specialties, Postgraduate Orthodontic School, Radiological Sciences and Public Health, University of Brescia, Piazzale Spedali Civili 1, 25123 Brescia, Italy; [email protected] 2 Department of Medical and Surgical Specialties, School of Dentistry, Radiological Sciences and Public Health, University of Brescia, Piazzale Spedali Civili 1, 25123 Brescia, Italy; [email protected] (G.O.); [email protected] (D.D.) * Correspondence: [email protected] Abstract: Among the innovations that have changed modern orthodontics, the introduction of new digital technologies in daily clinical practice has had a major impact, in particular the use of 3D models of dental arches. The possibility for direct 3D capture of arches using intraoral scanners has brought many clinicians closer to the digital world. The digital revolution of orthodontic practice requires both hardware components and dedicated software for the analysis of STL models and all other files generated by the digital workflow. However, there are some negative aspects, including the need for the clinician and technicians to learn how to use new software. In this context, we can distinguish two main software types: dedicated software (i.e., developed by orthodontic companies) and open-source software. Dedicated software tend to have a much more user-friendly interface, and be easier to use and more intuitive, due to being designed and developed for a non-expert user, but very high rental or purchase costs are an issue. Therefore, younger clinicians with more extensive digital skills have begun to look with increasing interest at open-source software. -
232 Advanced 3D Photorealism Techniques
Publisher: Robert Ipsen Editor: Cary Sullivan Assistant Editor: Kathryn A. Malm Managing Editor: Brian Snapp Electronic Products, Associate Editor: Mike Sosa Text Design & Composition: North Market Street Graphics Designations used by companies to distinguish their products are often claimed as trade- marks. In all instances where John Wiley & Sons, Inc., is aware of a claim, the product names appear in initial capital or ALL CAPITAL LETTERS. Readers, however, should contact the appro- priate companies for more complete information regarding trademarks and registration. This book is printed on acid-free paper. Q Copyright 1999 by Bill Fleming. All rights reserved. Published by John Wiley & Sons, Inc. Published simultaneously in Canada. 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 Copy- right 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) 7508400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850- 6008, E-Mail: [email protected]. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold with the understanding that the publisher is not engaged in professional services. If professional advice or other expert assistance is required, the services of a competent professional person should be sought.