Conception Et Animation Interactive De Foules Pour De Vastes Environnements Kevin Jordao

Total Page:16

File Type:pdf, Size:1020Kb

Conception Et Animation Interactive De Foules Pour De Vastes Environnements Kevin Jordao Conception et animation interactive de foules pour de vastes environnements Kevin Jordao To cite this version: Kevin Jordao. Conception et animation interactive de foules pour de vastes environnements. Synthèse d’image et réalité virtuelle [cs.GR]. INSA de Rennes, 2015. Français. NNT : 2015ISAR0030. tel- 01303776 HAL Id: tel-01303776 https://tel.archives-ouvertes.fr/tel-01303776 Submitted on 18 Apr 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Thèse THESE INSA Rennes présentée par sous le sceau de l’Université européenne de Bretagne Kévin Jordao pour obtenir le titre de DOCTEUR DE L’INSA DE RENNES ECOLE DOCTORALE : MATISSE Spécialité : Informatique LABORATOIRE : IRISA / INRIA Rennes Thèse soutenue le 21.12.2015 Interactive design and devant le jury composé de : animation of crowds for Pr. Bruno Arnaldi Professeur, INSA de Rennes / Président large environments Pr. Nuria Pelechano Professeur Associée Université Polytechnique de Catalogne / Rapporteur Dr. Ronan Boulic Maître d’enseignement et de recherche Ecole Polytechnique Fédérale / Rapporteur Pr. David Cazier Professeur, Université de Strasbourg / Examinateur Pr. Marie-Paule Cani Professeur, Université de Grenoble INP-Ensimag / Directeur de thèse Dr. Julien Pettré Chargé de recherche HDR Inria Rennes / Directeur de thèse THESE` INSA Rennes pr´esent´ee par sous le sceau de l’Universit´eEurop´eenne de Bretagne K´evin Jordao pour obtenir le grade de ECOLE´ DOCTORALE : MATISSE DOCTEUR DE L’INSA DE RENNES LABORATOIRE : Irisa / Inria Rennes Sp´ecialit´e: Informatique Interactive design and animation of crowds for large environments Th`ese soutenue le 21 D´ecembre 2015 devant le jury compos´ede : Pr. Bruno Arnaldi Professeur, INSA de Rennes, France / Pr´esident Pr. Nuria Pelechano Professeur Associ´ee Universit´ePolytechnique de Catalogne, Barcelone, Espagne / Rapporteuse Dr. Ronan Boulic Maˆıtre d’enseignement et de recherche Ecole´ Polytechnique F´ed´erale, Lausanne, Suisse / Rapporteur Pr. David Cazier Professeur, Universit´ede Strasbourg, France / Examinateur Pr. Marie-Paule Cani Professeur, Universit´ede Grenoble INP-Ensimag, France / Directrice de th`ese Dr. Julien Pettr´e Charg´ede recherche HDR Inria, Rennes, France / Co-directeur de th`ese A` Ma famille, mes amis.. Remerciements Je tiens `aremercier les membres de mon jury pour avoir examin´emon manuscrit, et pour la rapidit´e`ala laquelle ils m’ont retourn´eleurs rapports. Je les remercie ´egalement de l’effort qu’ils ont fait pour le d´eplacement jusqu’`aRennes, et d’avoir accept´eune date de soutenance qui g´en´eralement est une p´eriode de fˆete en famille. Merci aussi `ames directeurs de th`ese qui m’ont encadr´es tout au long de ces 3 ans. Ils m’ont beaucoup aid´e`aprogresser dans le milieu de la recherche, que ce soit en r´edaction, sur la pr´esentation de mes travaux, ou bien sur mes directions de recherche. Je tiens particulierement `asouligner la disponibilit´ede Marie Paule Cani malgr´es sont emploie du temps surcharg´e. J’aimerais sp´ecialement remercier les ing´enieurs de recherche qui ont travaill´e avec moi pendant ma th`ese. A savoir, Orianne Siret et Tristan Lebouffant. Ils m’ont ´et´ed’une aide pr´ecieuse pour mettre en valeur mes resultats. Et d’un soutien sans ´equivoque lors des longues nuits `afinaliser les projets. Merci `amon coll`egue Panayiotis Charalambous, avec qui j’ai a beaucoup tra- vaill´esur ma derni`ere contribution. Il m’a beucoup aid´e concernant les r´ep´etitions de pr´esentations d’artcles ou de ma th`ese, sur l’anglais, la redaction et ma moti- vation en g´en´eral. Merci `ames coll`egues pour les d´elires et les discussions. Je pense notament `aOrianne, Quentin, Camille, Kim, Tristan, Diane, Huyen, Guillaume, Fran¸cois, Julian, Ferran, Fabien, And´eol, Merwan, Adrien...Avec qui j’ai pass´ede tr`es bon moments et qui a particip´eau fait que mes 3 ans de th`ese ce soit d´eroul´edans de superbes conditions. J’aimerais aussi remercier mon professeur de wushu, Bertrand Denolle, qui m’a 1 2 Remerciements transmit une autre passion en dehors de l’informatique : les arts martiaux chinois. Dans les moment intenses de ma th`ese les cours de Bertrand me permettaient de me vider completement la tˆete et de recharcger les batteries pour pouvoir repartir de plus belle. J’aimerais aussi remercier mes amis en g´en´eral. Dont certain qui ont fait l’aller retour depuis Paris pour venir m’encourager lors de ma soutenance. J’aimerais plus particulierement remercier Laurent Noel, qui a su me transmettre sa passion pour l’informatique. Sans lui je ne serai pas `ace niveau d’´etudes aujourd’hui. J’aimerais finir ces remerciements en mettant `al’honneur ma famille. Durant ces ann´ees d’´etudes, elle n’a eu de cesse de me soutenir et de m’encourager. Je pense particulierement `ama mere et `ama grand mere, qui malgr´es quelques p´eriodes difficiles durant ma scolarit´e, n’ont jamais dout´ede moi et toujours su me donner l’´elant necessaire pour aller plus loin, pour aller plus haut. Merci. Contents Remerciements 1 1 Introduction 9 1.1 Context ................................ 9 1.2 Problemstatement .......................... 12 1.3 Contributions ............................. 13 1.4 Organizationofthisdocument. 14 1.5 Publications.............................. 15 1.5.1 Technicalpapers ....................... 15 1.5.2 Posters............................. 15 1.5.3 Shortpapers.......................... 15 2 Related work on crowd animation design and expressive model- ing 17 2.1 CrowdSimulation .......................... 18 2.1.1 MicroscopicSimulation. 18 2.1.1.1 Rule-based and Path Planning Approaches . 19 2.1.1.2 Force-basedApproaches . 20 2.1.1.3 GeometricApproaches . 20 2.1.1.4 Data-drivenApproaches . 22 2.1.2 MacroscopicSimulation . 23 2.1.3 Summary ........................... 24 2.2 CrowdAnimationDesignandRe-use . 25 2.2.1 High-LevelControlonSimulationSystem . 26 5 6 Contents 2.2.2 MotionEditing ........................ 27 2.2.3 Texturebasedapproach . 28 2.2.4 Summary ........................... 30 2.3 ExpressiveModeling . 31 2.3.1 Sketchingmetaphors . 32 2.3.2 Paintingmetaphors . 34 2.3.3 Sculptingmetaphors . 35 2.3.4 Summary ........................... 37 2.4 Conclusion .............................. 38 3 Crowd Patches Framework 41 3.1 CrowdPatchesPrinciple . 42 3.2 SynthesizingCrowdsusingCrowdPatches . 42 3.3 In-Patchtrajectoriesgeneration . 44 3.3.1 RVO-basedalgorithm . 44 3.3.1.1 Principle ...................... 45 3.3.1.2 Discussion...................... 46 3.3.2 Crowdpatcheseditor. 46 3.3.2.1 Featuresofthetool. 49 3.3.2.2 Discussion...................... 50 3.4 Viewers ................................ 50 3.4.1 SFMLViewer......................... 51 3.4.2 UnityViewer ......................... 51 3.5 Summary ............................... 51 4 Shaping Crowd Animations 55 4.1 Introduction.............................. 56 4.2 Overview................................ 57 4.3 Amutablemodelforsculptingcrowds . 59 4.3.1 PatchesRest-states . 59 4.3.2 PatchesStateSpace . 62 4.3.3 Geometricdeformationsofpatches . 66 Contents 7 4.4 Results ................................ 67 4.5 Summary ............................... 69 5 DensityandFlowControlofCrowdAnimations 71 5.1 Introduction.............................. 72 5.2 Overview................................ 74 5.3 DensityandDirectionControlinPatches . 75 5.4 OptimizingCrowdRequirements . 78 5.4.1 Algorithm ........................... 79 5.4.2 Optimizationsteps . 81 5.5 UserInterface ............................. 85 5.6 Results................................. 87 5.6.1 DensityControl........................ 87 5.6.2 FlowDirectionControl. 88 5.6.3 UseCases ........................... 89 5.6.4 Performance.......................... 92 5.7 Discussion............................... 92 6 TemporalEditingofCrowdPatches 97 6.1 CrowdPatchesPermutation . 98 6.1.1 Overview ........................... 98 6.1.2 Conclusion........................... 101 6.2 ReactiveCrowdPatches . 101 6.2.1 Principle............................ 102 6.2.2 ResultsandDiscussion . 103 6.3 Conclusion............................... 105 7 Conclusion 107 7.1 Contributionsanddiscussion. 107 7.1.1 Crowdsculpting. 107 7.1.2 CrowdArt........................... 109 7.2 FutureDirections . 110 7.2.1 Authoring tool to control crowds over time . 110 8 Contents 7.2.2 ReactiveCrowdPatches . 110 Author’s publications 113 Bibliography 122 List of Figures 123 List of Tables 131 .1 Contexte................................ 134 .2 Enonc´eduprobl`eme . 135 .3 Contributions ............................. 136 .4 Organisationdudocument . 138 .5 Publications.............................. 139 .5.1 Technicalpapers ....................... 139 .5.2 Posters............................. 139 .5.3 Shortpapers.......................... 139 .6 Conclusion............................... 139 .6.1 Contributionsetdiscussion. 140 .6.1.1 Crowdsculpting . 140 .6.1.2 CrowdArt ..................... 142 .6.2 Directionsfuture . 142 .6.2.1 Outil de cr´eation pour contrˆoler la foule dans le temps ........................ 142 .6.2.2 Crowdpatchesreactifs .
Recommended publications
  • VFX Prime 2018-19 Course Code: OV-3103 Course Category : Career VFX INDUSTRY
    Product Note: VFX Prime 2018-19 Course Code: OV-3103 Course Category : Career VFX INDUSTRY Indian VFX Industry grew from INR 2,320 Crore in 2016 to reach INR 3,130 Crore in 2017.The Industry is expected to grow nearly double to INR 6,350 Crore by 2020. Where reality meets and blends with the imaginary, it is there that VFX begins. The demand for VFX has been rising relentlessly with the production of movies and television shows set in fantasy worlds with imaginary creatures like dragons, magical realms, extra-terrestrial planets and galaxies, and more. VFX can transform the ordinary into something extraordinary. Have you ever been fascinated by films like Transformers, Dead pool, Captain America, Spiderman, etc.? Then you must know that a number of Visual Effects are used in these films. Now the VFX industry is on the verge of changing with the introduction of new tools, new concepts, and ideas. Source:* FICCI-EY Media & Entertainment Report 2018 INDUSTRY TRENDS VFX For Television Episodic Series SONY Television's Show PORUS showcases state-of-the-art Visual Effects to be seen on Television. Based on the tale of King Porus, who fought against Alexander, The Great to stop him from invading India, the show is said to have been made on a budget of Rs500 crore. VFX-based Content for Digital Platforms like Amazon & Netflix Popular web series like House of Cards, Game of Thrones, Suits, etc. on streaming platforms such as Netflix, Amazon Prime, Hot star and many more are unlike any conventional television series. They are edgy and fresh, with high production values, State-of-the-art Visual Effects, which are only matched with films, and are now a rage all over the world.
    [Show full text]
  • Scale Based Model for the Psychology of Crowds Into Virtual Environments»
    « Scale Based Model for the psychology of crowds into virtual environments» Fabien Tschirhart ATI – University of Paris VIII [email protected] Crowds into virtual environments Different purposes Crowds into virtual environments Different purposes Video Games ↑ Hitman Absolution ↓ Supreme Commander ↑ Theme Hospital ↓ Total War : Shogun 2 Crowds into virtual environments Different purposes Cinema ↑ King Kong ↓ The Curious Case of Benjamin Button ↑ Troie ↓ The Mummy : Tomb of the Dragon Emperor Crowds into virtual environments Different purposes Simulation ↑ SpirOps Crowd ↓ MassMotion ↑ Geppetto ↓ Myriad II Existing crowd models The macroscopic approach Macroscopic models assimilates people as a unique mass behaving like a fluid or a gas : This kind of model was introduced by Henderson in 1971 who identified people as a fluid flowing out in a building. In 1992, Helbing suggested that people could be acting like gas particles, making a comparison between an individual state and the different states gases have according to the Maxwell-Boltzmann distribution. ← Myriad II Existing crowd models The macroscopic approach This approach was then ehanced with more complex models : Predtechenshkii and Milinskii suggested a model to estimate the local density of a flow of people and it’s propagation between blocs : The conflagration model from Takahashi, Tanaka and Kose, cuts infrastructures into different kinds of generic areas, then it computes the maximal time required for the evacuation of each area according to the room obstruction : Existing crowd models The macroscopic approach Strenght and weakness : => Can be used for sequences with thousands individuals for a low cost. => Easy to set up. => Very fast to compute. => Almost exclusively designed for the simulation of massive evacuations of buildings.
    [Show full text]
  • Final Report, Blend'it Project
    Final report, Blend'it project Benjamin Boisson, Guillaume Combette, Dimitri Lajou, Victor Lutfalla, Octave Mariotti,∗ Raphaël Monat, Etienne Moutot, Johanna Seif, Pijus Simonaitis 2015-2016 Abstract The goal of this project, Blend'it, was to design two open-source plug-ins for Blender, which is a computer graphics software. These two plug-ins aim to help artists creating complex environments. The rst of these plug-in should be able to realistically animate crowds, and the other one to design static environments by making dierent elements such as rivers and mountains automatically interact to produce realistic scenes. Although this kind of software is already developed in the Computer Graphics industry, there are often unavailable to the public and not free. ∗was abroad during the second semester, he did not contributed to the second part of the project Contents 1 Introduction 2 1.1 Objectives . .2 1.2 State of the art . .3 1.3 Team . .3 1.4 Choice of Blender. .4 1.5 Structure of the project . .4 2 Blender exploration team 5 2.1 Blender discovery . .5 2.2 Unitary tests . .5 2.3 Code coverage . .5 2.4 Code organization . .5 3 Crowd plug-in 6 3.1 Human animation . .6 3.2 Path generation . .6 3.2.1 Implementation . .6 3.3 Path interpolation in Blender . .8 3.3.1 Creating a path . .8 3.4 GUI . .8 3.4.1 The Map Panel . .9 3.4.2 The Crowd Panel . .9 3.4.3 The Simulation Panel . .9 4 Environment plug-in 11 4.1 Overview .
    [Show full text]
  • AAIP ] Term 01 Graphics and Visual Design
    Arena Animation International Program [ AAIP ] Term 01 Graphics and Visual Design Term AAIP 02 2D Animation VFX Term 3D Animation 03 Term Advanced VFX 04 Term 1 – Details Program Structure Modules Concepts of Graphics and Illustrations Anatomy Study Tools Typography Design Adobe Illustrator CC Digital Illustrations AAIP Adobe Photoshop CC Digital Painting VFX Adobe Audition CC Digital Filmmaking Concepts Adobe Premiere CC Sound Editing Video Editing Project Design Portfolio Learning Objectives Understand concepts of Design, Composition & Visualization AAIP Explain fundamentals of Graphics and various aspects of drawings Explain fundamentals of typography Create artworks/Illustrations Use image Editing tools and retouch images Understand the fundamentals of Digital Filmmaking Understand sound & video editing Term 2 - Details Program Structure Modules 2D Animation Concepts Tools AAIP Digital Pre-Production Storyboarding and Adobe Premiere Pro CC Animatics 2D Animation using Adobe Animate CC Animate CC Project 2D Animation Portfolio Learning Objectives Describe importance of anatomy in animation Construct poses in different action AAIP Explain the evolution and importance of animation Describe the techniques of animation Create storyboarding in Animatics Create storyboards for animation Create vector graphics and 2D digital animation AAIP VFX – Term 3 - Details Modules 3D Basics - Modeling to Animation 3D Modeling Texturing Tools AAIPLighting and Rendering Maya Unlimited Rigging Golaem Crowd VFX Animation Arnold Renderer for Maya Dynamics
    [Show full text]
  • Sallukazi Crowd Simulations | Lighting | Technical Direction
    SalluKazi crowd simulations | lighting | technical direction With 10 years of production experience, working in various roles as Technical Director in Crowd simulations, Lighting and Pipeline, I’m a self motivated team player, adapting to pipeline, workflows and the team with ease. Cinesite Lead Crowd TD CREDITS may 2018 - aug 2019 The Addams Family Black Panther Method Studios Senior Crowd TD jul 2016 - may 2018 Thor: Ragnarok Spider-Man: Homecoming Framestore Senior Crowd TD King Arthur apr 2015 - jun 2016 Now You See Me 2 Crowd TD may 2014 - aug 2014 Dracula Untold Walking With Dinosaurs 3D Golaem S.A VFX/Animation Support Specialist aug 2014 - mar 2015 Happy Feet Two 3D Sucker Punch Animal Logic Crowd TD Sammy’s Adventures: The - Secret Passage [3D] feb 2012 - feb 2013 Delhi 6 Crowd TD mar 2010 - jul 2010 Tinker Bell Tales Of The Riverbank Rising Sun Pictures Crowd TD nov 2011 - jan 2012 SKILLS maya Dr. D Studios Crowd TD nov 2010 - oct 2011 golaem Nwave Studios Lighter massive nov 2008 - sept 2009 arnold Prana Studios Crowd / Lighting TD vray sep 2007 - nov 2008 renderman Prime Focus Pipeline TD katana dec 2006 - aug 2007 nuke Skyworks Studios Technical Director oct 2005 - nov 2006 python houdini Vanarts - Diploma with Honors in Visual Effects Art Institute of Vancouver - Certificate in Visual Effects and Digital Animation M S Ramaiah Institute of Technology - Bachelors of Electrical and Electronics Engineering m: +1 236 999 6300 | e: [email protected] | w: www.sallukazi.com CINESITE The Addams Family - Lead Technical Director (Crowds) Crowd character setup involving rig conversion and motion retargeting.
    [Show full text]
  • Simulation - Sig-01Version-Francaise
    Usine-3325-Spe-Simulation - Sig-01version-Francaise www.usinenouvelle.com www.industrie-techno.com SUPPLÉMENT AU NUMÉRO 3325 DU 4 AVRIL 2013. NE PEUT ÊTRE VENDU SÉPARÉMENT SIMULATION LA FRENCH TOUCH Usine-3325-Spe-Simulation - Sig-01version-Francaise Un tremplin pour L’INNOVATION industrielle Localisé dans le Très grand centre de calcul du CEA (TGCC), à Bruyères-le-Châtel (Essonne), le CCRT offre à ses partenaires la puissance de calcul nécessaire à leurs simulations, et les compétences des équipes du CEA dans toutes les disciplines scientifiques liées à la simulation numérique. © Snecma ©CEA/Cadam © Ineris Airain, Simulation de la calculateur du CCRT combustion ultra (200 Teraflops). low émissions du moteur Snecma “Silvercrest” pour avions d'affaires - Snecma. Simulation de la qualité de l’air à très haute résolution sur © Turbomeca l’Europe - Ineris. Nouvelles approches physiques pour simuler Simulation numérique de intensivement des la combustion dans un foyer systèmes de turbomoteur biochimiques. d’hélicoptère - Turbomeca. LES PARTENAIRES ACTUELS DU CCRT : Areva, EADS/Astrium, EDF, Ineris, L’Oréal, Snecma, Techspace Aero, Thalès, Turbomeca, Valéo sont partenaires du CCRT ainsi © CEA/DSV que les quatre pôles de recherche du CEA (sciences de la matière, énergie nucléaire, applications militaires et sciences du vivant). Contact : [email protected] Pour en savoir plus : www-ccrt.cea.fr Usine-3325-Spe-Simulation - Sig-02Version-Francaise éditorial sommaire France, terre cachée TECHNOLOGIE delasimulation • Pas d’innovation sans calcul.......................................... ÿ P. 4 ENTRETIEN • Gérard Roucairol, le président de l’Académie e savoir-faire est certain. Reste à le faire des technologies et de l’association Teratec ......... ÿ P.
    [Show full text]
  • Stephen F. Dobbs Crowd TD / Technical Animator / CG Generalist
    Stephen F. Dobbs Crowd TD / Technical Animator / CG Generalist Summary Film and Television studio CGI veteran with feature film work experience as a Crowd TD, Technical Animator, CG Gen- eralist, and live-action camera Integrator. On-set and features VFX bidding experi- Experience ence. Clean effective coding abilities. Primal Screen Atlanta, GA 2017 - 2018 Lead Crowd TD - Rigging, Simulation, Pipeline Support, Code. Skills Soley responsible for the creation of all crowd assets and the entire crowd shot pipeline Built multiple character rigs(Maya) featuring dozens of skinned assets, including props, wardrobe Maya, Nuke, Houdini, MotionBuilder, accessories, and blend shapes while maintaining strict requirements for Golaem Crowd agents. Golaem, Arnold, V-Ray, mentalray, Adobe Setup crowd agent properties and behavior trees. Setup and re-targeted animation across char- CC, ZBrush, 3DEqualizer, Unity, Resolve, acter rigs to convert motions into clips usable by crowd agents. Completed crowd layouts and MeshLab, Cubase (many others) simulations for 95% of the film “Elf Pets: Santa’s St Bernards Save Christmas”. Python, MEL, Perl, C#, C++, Javascript, Exported alembic environment, character, and camera data from all shots(70+) that required HTML5, CSS3, PHP, MySQL, Unix/Irix/ crowds. Setup and prepared all crowd shots including cleaning up imported alembic and camera Linux Shell data. Conformed V-Ray shaders on all crowd assets to resolve naming conflicts and optimize linear lighting workflows. Supported 100% of all crowd issues and problem solving including Education rendering. Berklee College of Music Wrote python code that allowed animators to blindly create organized playblast files to assist Art Institute of Atlanta editorial. Wrote a python hook into Shotgun to override default namespace conventions on im- SGI Silicon Studio ported Maya assets.
    [Show full text]
  • Character & Design
    ISSNISSISISSSN 1433-26201433434 -26-2662020 > B 4336243362 >>>> 15.151 . JahrgangJahraha gangaa gg> >>>>>>> wwwwwwwww.digitalproduction.comw .digitg alplproduction.cocom DeutschlandDeuutscscchlaand € 14,9514,94,995 ÖsterreichÖststerrerer eichh€ € 17117,–7,–,– PublishedPublPu lishishesheshs d byy SchweizSchScS hweiwewe z sfrsfrr 29,–29,299,9 – 04|11 MAGAZINMAGAZIN FÜRFÜR POSTPRODUKTIONPOSTPRODUKKTTIIONON & VISUALISIERUNGVISISUAU LILISIS ERERUUNNG JULI | AUGUST 04|1104|11 Schwerpunkt: Character Design | Cars II | Adobe CS5.5 | Crysis II | Digitale Fieldrekorder | ZBrush 4 | Sony F3 vs. Arri Alexa | ZBrush 4 Sony F3 vs. Fieldrekorder II | Adobe CS5.5 Crysis Digitale Design | Cars Character Schwerpunkt: CCharacterharacter & DDesignesign Cars 2 Adobe CS5.55.5 Sculpting Pixar drückt wiederieder Im Test: Die neuesteeste Digitale Bildhauerei aufs Gaspedal Creative Suite in ZBrush 4 DDP1104_001-001_Titel_U1P1104_001-001_Titel_U1 1 110.06.20110.06.2011 117:24:477:24:47 AKTUELL FOKUS FILM & VFX 3D & ANIMATION INTERACTIVE INDUSTRIE DIGITAL ART SCIENCE & EDUCATION SERVICE Menschen in Maya Bis jetzt waren particle-basierte Menschenmassen in Maya entweder sehr homogen oder mit enorm viel Arbeit verbunden. Ein junges französisches Studio stellte nun auf der FMX in Stuttgart ein Plug-in vor, das Particle-Systeme elegant mit prozeduralem Design verknüpft – und den 3D-Artist zum Völkerschöpfer werden lässt, ohne aus seinem Workflow herausgerissen zu werden. von Bela Beier as junge Unternehmen, welches die Projektweite Schritte Jetzt spielt das Tool seine ganze Flexibilität Fähigkeiten seines Plug-ins bereits bei aus, denn nun ist es egal, ob 10 oder 10.000 DMikros Image im Produktionsalltag un- Dabei ist der gesamte Workflow sehr an Pro- Characters eingestellt werden. ter Beweis gestellt hat, hat für sein komplett duktionen angepasst. Im ersten Schritt wer- Per Node-Steuerung oder Liste wird die in Autodesk Maya integriertes Crowd-System den – jeweils einmal pro Projekt – die Assets Heterogenität bestimmt.
    [Show full text]
  • Certificate in Animation Prime Brochure
    Arena Animation, Mira Road Mira Road, Mumbai | Private Certificate in Animation Prime Certificate | Full T ime | Duration - 27 months Medium English Highlights Course provides access to Creosouls i.e is students can share their creative portfolio Classes are held for 2 hours a day for 3 days a week with the world, get feedback from experts, find job opportunities and get hired Provides access to Onlinevarsity: Arena's exclusive web portal that adds to classroom l Provides training in all aspects of 3D animation - from pre-production, production, to p earning experience ost-production Provides hands-on training on in-demand techniques like 2D digital animation, 3D moti on graphics & crowd simulation Eligibility & Cut-Off Candidate must have passed 10+2 in any stream from a recognized board. Disclaimer: This is no t the o fficial bro chure o f this co urse. It is auto -g enerated based o n the info rmatio n available o n Shiksha as o n 04-Jul-2018. Admission Process Direct Admission Interested candidates can apply directly to the college. Fees General category T otal Fees INR 2.30 Lakh (Fees Components : Tuition) Fees ranges from 2.30 Lakhs to 3.11 Lakhs. Course Structure Semester 1 Courses Concepts of Graphics & Illustrations T ypography Design Digital Illustrations Concepts of Cinematography & Photography Concepts of 2D Digital Animation Art of Storytelling & Script Writing Anatomy Study Character Design Digital Painting Audio - Video Editing Storyboarding and Animatics Application of 2D Animation Principles T ools Used: Adobe Illustrator
    [Show full text]
  • Application of Crowd Simulations in the Evaluation of Tracking Algorithms
    sensors Article Application of Crowd Simulations in the Evaluation of Tracking Algorithms Michał Staniszewski 1,∗ , Paweł Foszner 1, Karol Kostorz 1, Agnieszka Michalczuk 1, Kamil Wereszczy ´nski 1, Michał Cogiel 1, Dominik Golba 1, Konrad Wojciechowski 2 and Andrzej Pola ´nski 1 1 Department of Computer Graphics, Vision and Digital Systems, Faculty of Automatic Control, Electronics and Computer Science, Silesian University of Technology, Akademicka 2A, 44-100 Gliwice, Poland; [email protected] (P.F.); [email protected] (K.K.); [email protected] (A.M.); [email protected] (K.W.); [email protected] (M.C.); [email protected] (D.G.); [email protected] (A.P.) 2 Polish-Japanese Academy of Information Technology, Koszykowa 86, 02-008 Warszawa, Poland; [email protected] * Correspondence: [email protected]; Tel.: +48-32-237-26-69 Received: 28 July 2020; Accepted: 1 September 2020; Published: 2 September 2020 Abstract: Tracking and action-recognition algorithms are currently widely used in video surveillance, monitoring urban activities and in many other areas. Their development highly relies on benchmarking scenarios, which enable reliable evaluations/improvements of their efficiencies. Presently, benchmarking methods for tracking and action-recognition algorithms rely on manual annotation of video databases, prone to human errors, limited in size and time-consuming. Here, using gained experiences, an alternative benchmarking solution is presented, which employs methods and tools obtained from the computer-game domain to create simulated video data with automatic annotations. Presented approach highly outperforms existing solutions in the size of the data and variety of annotations possible to create.
    [Show full text]
  • Arena Student Note Animation Prime Copy
    STUDENT UPDATE Dear Student, The animation industry is a new realm of opportunities. With top animation studios like Pixar, Disney, DreamWorks and others churning out quality content on a massive scale, the animation industry is scouting for fresh and dynamic talent to cater to these ever-increasing demands. Animation Prime, a comprehensive training program in the fundamental techniques of animation, provides an all-inclusive understanding of the latest tools and software used in the animation industry. Animation Prime students are thoroughly capable of nding employment and success in the animation industry. The Indian M&E industry is growing at 13.5% per annum and is expected to be worth INR 3.07 trillion in 2024.* The M&E industry is also expected to provide 65 lakh jobs by 2022.** *Source: Economic Times | **Source: FICCI-EY Report 2018 Q. WHY IS ANIMATION PRIME AN IDEAL PROGRAM? • The program teaches students to conceptualise, visualise, plan, implement, execute and fine-tune their skills, giving them an edge over competitors. • The program teaches Design & Visualisation, 3D Animation and Advanced 3D Animation, making them future-ready. • Students learn the latest industry-relevant software in Animation including 3ds Max with V-Ray, Maya, Digital Effects, Pixar's RenderMan, Golaem Crowd and many more. • Students also learn all the techniques of Animation, including stop motion (day animation). • Expert faculties help students create a digital portfolio in the area of specialisation. Q. WHAT WILL THE STUDENTS LEARN? Q. WHAT IS THE DURATION OF THE PROGRAM? • Stop Motion • Graphic Designing • 2D Animation • Adobe Illustrator CC / Inkscape 27 Months • 3D Modeling • Adobe Photoshop Extended CC / Pixlr • Texturing • Adobe Audition CC / Audacity • Lighting & Rendering • Adobe Premiere Pro CC / VSDC Video Q.
    [Show full text]
  • A Review of Software for Crowd Simulation
    A REVIEW OF SOFTWARE FOR CROWD SIMULATION Author: Thomas Richards, Data Science Intern, Leeds Institute for Data Science (LIDA), University of Leeds. AIM To review a number of different software libraries and platforms that can be used to create agent- based pedestrian simulations, in particular to find a library that will allow us to use data assimilation to update the state of the model at runtime. METHOD Search Google, GitHub, SourceForge, Wikipedia etc, and personal suggestions/recommendations. Priorities are software which: 1. able to run agent-based pedestrian simulations; 2. is open source; 3. is modular/accessible; 4. Allows run-time intervention (e.g. to add, change, remove agents whilst simulation is running); 4. uses a language popular with the research team, namely Python and/or Java. Software that have not been updated or appear to be no longer supported, have no documentation, or are unsuitable have been included in the list so that there is a record they have been checked but may not include much detail. Sections for software which was not short listed may be incomplete. RESULTS Models are given a rating out of three *’s. Note that these ratings indicate the suitability of the software for the research project. They are not a general assessment of the quality of the software; we do not suggest that a library with a high rating is inherently better than one with a low rating, just that it may be more suitable for use in the DUST project. If the authors of the software would like us to amend any inaccuracies or errors with respect to their software we will be happy to.
    [Show full text]