Introduction to Maya
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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. -
Appre Hender Les Personnages En 3D : Quelques Principes Fondamentaux Du Rig
Universite Paris 8 Master Arts Mention : Arts Plastiques et Art Contemporain Spe cialite : Arts et Technologies de l'Image Virtuelle Appre hender les personnages en 3D : quelques principes fondamentaux du rig Rodolphe Zirah Me moire de Master 2 2013- 2014 Résumé Le rig est un enjeu majeur de la production des films d’animation en images de synthèse d’aujourd’hui, tout en étant caché dans l’ombre du travail de l’animateur. Pourtant, pour qu’une animation soit réussie, il faut que le rig soit bien pensé. Il faut donc créer son rig en pensant à rendre le travail des animateurs plus simple et intuitif, et certains choix du riggeur peuvent influencer fortement sur la qualité de l’animation et sur le temps de production. Cette étude se découpe en trois parties. Nous commencerons pas un état de l’art bref qui nous montrera que le rig existe bien avant la 3D, avec les créatures en volume de toutes l’histoire du cinéma d’animation. Nous discuterons ensuite de technique de rig à proprement parler. Nous donnerons, dans une deuxième partie, les principes fondamentaux nécessaires à la bonne compréhension et à la bonne réalisation d’un rig, en général. Puis nous détaillerons, dans une troisième partie, des cas particuliers de rig - personnage mécanique et rig facial- à partir d’étude de productions. On utilisera Maya (2013) comme outil principal. Abstract Nowadays, character rigging is one of major issue of animated films, while hidden in the shadow of animation work. Yet, for a movie to be successful it is necessary that the rig is well thought out. -
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 -