ACM SIGGRAPH Career Handbook
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Audiosity= Audio+ Radiosity
AUDIOSITY = AUDIO + RADIOSITY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPUTER SCIENCE UNIVERSITY OF REGINA By Hao Li Regina, Saskatchewan September 2009 © Copyright 2009: Hao Li Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-65704-1 Our file Notre reference ISBN: 978-0-494-65704-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
A Study on Development and Current Application of Motion Graphic in Taiwan’S Popular Music
PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Chen & Chang, 2019 Volume 5 Issue 1, pp. 124-134 Date of Publication: 23rd March 2019 DOI-https://dx.doi.org/10.20319/pijss.2019.51.124134 This paper can be cited as: Chen, C. M., & Chang. Y. J., (2019). A Study on Development and Current Application of Motion Graphic in Taiwan’s Popular Music. PEOPLE: International Journal of Social Sciences, 5(1), 124-134. This work is licensed under the Creative Commons Attribution-Non Commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. A STUDY ON DEVELOPMENT AND CURRENT APPLICATION OF MOTION GRAPHIC IN TAIWAN’S POPULAR MUSIC Chia Min Chen Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Yen Jung Chang Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Abstract With the advances in technology, the way of communications has become more diverse. Motion graphic combines graphic design, animation design, and film languages. Motion graphic is a new industry with intense performance styles and can be used in different media and platforms, such as commercials, music videos, film and television titles, web pages, and various display screen sizes, etc. Because motion graphic is a non-narrative time-based media, mostly it combines with music. The Taiwan 25th Golden Melody Awards introduced motion graphic design for the first time in 2014. -
Central Library National Institute of Technology Tiruchirappalli
1 CENTRAL LIBRARY NATIONAL INSTITUTE OF TECHNOLOGY TIRUCHIRAPPALLI TAMIL NADU-62001 1 i CENTRAL LIBRARY CIRCULATION PROCEDURE Books and other publications can be checked out from the circulation counter. The barrowing rights of various members are tabled with lending period respectively. Books can be called back during the loan period, if there is demand from another user. Consecutive renewals of any particular copy of a bound journal by the same borrower over a long period of time may not be allowed. However, a book may be re- issued to a borrower if there is no demand for it from other members. The library generally issues overdue notices, but failure to receive such a notice is not sufficient reason for non-return of overdue books or journals etc. Additionally, through Book Bank Service SC, ST, Scholarship, and rank holder students are eligible for borrowing 5 books per semester over and above the listed eligibility. Member Type Number of books can Lending Period barrowed UG/ PG Students 6 30 Days PhD, MS & Research Scholars 6 30 Days Faculty 10 180 Days Temp Faculty and PDF 8 180 Days Group A Staff 5 180 Days Staff 4 180 Days External Member/ Alumni 2 30 Days Borrowing Rules: 1. The reader should check the books thoroughly for missing pages, chapters, etc while getting them issued. 2. The overdue fine of Rs.1.00 will be charged per day after the due date for the books. 3. Absence from the Institute will not be allowed as an excuse for the delay in the return of books. -
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. -
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. -
TV/Series, 9 | 2016, « Guerres En Séries (I) » [En Ligne], Mis En Ligne Le 01 Mars 2016, Consulté Le 18 Mai 2021
TV/Series 9 | 2016 Guerres en séries (I) Séries et guerre contre la terreur TV series and war on terror Marjolaine Boutet (dir.) Édition électronique URL : https://journals.openedition.org/tvseries/617 DOI : 10.4000/tvseries.617 ISSN : 2266-0909 Éditeur GRIC - Groupe de recherche Identités et Cultures Référence électronique Marjolaine Boutet (dir.), TV/Series, 9 | 2016, « Guerres en séries (I) » [En ligne], mis en ligne le 01 mars 2016, consulté le 18 mai 2021. URL : https://journals.openedition.org/tvseries/617 ; DOI : https:// doi.org/10.4000/tvseries.617 Ce document a été généré automatiquement le 18 mai 2021. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 Ce numéro explore de façon transdisciplinaire comment les séries américaines ont représenté les multiples aspects de la lutte contre le terrorisme et ses conséquences militaires, politiques, morales et sociales depuis le 11 septembre 2001. TV/Series, 9 | 2016 2 SOMMAIRE Préface. Les séries télévisées américaines et la guerre contre la terreur Marjolaine Boutet Détours visuels et narratifs Conflits, filtres et stratégies d’évitement : la représentation du 11 septembre et de ses conséquences dans deux séries d’Aaron Sorkin, The West Wing (NBC, 1999-2006) et The Newsroom (HBO, 2012-2014) Vanessa Loubet-Poëtte « Tu n’as rien vu [en Irak] » : Logistique de l’aperception dans Generation Kill Sébastien Lefait Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin Les maux de la guerre à travers les mots du pilote Alex dans la série In Treatment (HBO, 2008-2010) Sarah Hatchuel 24 heures chrono et Homeland : séries emblématiques et ambigües 24 heures chrono : enfermement spatio-temporel, nœud d’intrigues, piège idéologique ? Monica Michlin Contre le split-screen. -
After Effects Duration: 3 Days Fundamentals
AFTER EFFECTS DURATION: 3 DAYS FUNDAMENTALS COURSE DESCRIPTION Adobe After Effects is a powerful program used for creating motion graphics and special effects for video and animation projects. In this beginner’s workshop you will learn tools and skills to effectively use this powerful program. This hands-on course is suitable for beginners and will teach you how to use After Effects for video editing, motion editing, adding special effects and compositing. This class is aimed at graphic and video professionals who need an essential understanding of motion graphics, title animation, plus powerful effects compositing. Experienced users will also benefit from many hands-on projects and tricks learned in the class. Live face-to-face instructor - still the best way to learn! DETAILED COURSE OUTLINE GETTING TO KNOW AFTER EFFECTS UNIT 2: WORKING WITH MASKS UNIT 5: AFTER EFFECTS DYNAMIC WORKFLOWS | | After Effects: What it is (and is not) Alpha channels, Masks, mattes, and keys - | | The After Effects enterprise workflow oh my! Packaging, prepping, and importing | | The power of Creative Cloud Creating Masks with the vector Shape and Illustrator files | | Leveraging your Creative Cloud subscription Pen Tools Working with Illustrator layers | | | Integrating After Effects with other file Creating Bezier Masks Packaging, prepping, and importing | formats Editing corner and smooth points Photoshop files | | | Linked media: Organizing your Projects Feathering the edges of a Mask Managing Photoshop layers | | | Tips and best practices for After Effects -
Magisterarbeit 24
„Tell me where the bomb is or I’ll kill your son“– Folter in der TV-Serie „24“ und ihr Einfluss auf die aktuelle Folterdebatte in den Vereinigten Staaten Zur Erlangung des Grades eines Magister Artium der Philosophischen Fakultät der Westfälischen Wilhelms-Universität Münster, Westfalen vorgelegt von Jens Wiesner aus Dissen a.T.W. 2008 Inhaltsverzeichnis Inhaltsverzeichnis Inhaltsverzeichnis ......................................................................................................... 1 1 Einleitung .................................................................................................................. 2 1.1. Problemstellung und Relevanz der Forschungsfragen...................................... 5 1.2. Aufbau der Arbeit ............................................................................................ 13 2 Theoretische Grundlage: Folter ............................................................................. 14 2.1. Zur Definition von Folter ................................................................................. 14 2.1.1. Die Folter als Rechtsmittel ....................................................................... 16 2.1.2. Folter – eine rechtswissenschaftliche Definition ..................................... 18 2.1.3. Natur der Folter ........................................................................................ 19 2.1.4. Ziel der Folter ........................................................................................... 21 2.1.5. Folter - ein rein öffentlicher Akt? -
Interpretation of Molecule Conformations from Drawn Diagrams” by Dana Tenneson, Ph.D., Brown University, May 2008
Abstract of \Interpretation of Molecule Conformations from Drawn Diagrams" by Dana Tenneson, Ph.D., Brown University, May 2008. In chemistry, molecules are drawn on paper and chalkboards as diagrams consisting of lines, letters, and symbols which represent not only the atoms and bonds in the molecules but concisely encode cues to the 3D geometry of the molecules. Recent efforts into pen-based input methods for chemistry software have made progress at allowing chemists to input 2D diagrams of molecules into a computer simply by drawing them on a digitizer tablet. However, the task of interpreting these parsed sketches into proper 3D models has been largely unsolved due to the difficulty in making the models satisfy both the natural properties of molecule structure and the geometric cues made explicit in the drawing. This dissertation presents a set of techniques developed to solve this model construction problem within the context of an educational application for chemistry students. Our primary contribution is a framework for combining molecular structure knowledge and molecule diagram understanding via augmenting molecular mechanics equations to include drawing-based penalty terms. Additionally, we present an algorithm for generating molecule models from drawn diagrams which leverages domain- specific and diagram-driven heuristics. These heuristics make our process fast and accurate enough for molecule diagram drawing to be used as an interactive technique for model construction on modern Tablet PC computers. Interpretation of Molecule Conformations -
CS 144-01 Syllabus [Pdf]
San José State University Department of Computer Science CS-144, Advanced C++ Programming, Section 1, Spring 2018 Course and Contact Information Instructor: Michael Loceff Office Location: Online in the Canvas Portal Telephone: (We’ll use SJSU Zoom Meetings for Voice/Video) Email: [email protected] Office Hours: Daily in the course management system (“Canvas”), with typical response time < 4 hours, or by arrangement. Class Days/Time: Flexible 3-4 times/week at student convenience Classroom: Fully On-line using SJSU’s Canvas portal Prerequisites: CS 46B and CS 49C (with a grade of C- or better in each), or equivalent knowledge of object-oriented programming and (C or Java or Python), or instructor consent. Course Format: Fully online using SJSU Canvas login. (No in-person meetings.) There will be assigned readings, programming labs and/or quizzes due at specific days each week, but you can read the course content at times the fit your schedule. All work, including programming assignments and exams, will be submitted and graded online in Canvas. Regular instructor interaction will be available in class forums and/or optional live Zoom video chat. Additional Online Course Requirements This course adopts a fully online delivery format using Canvas. You will need Internet connectivity and a laptop or desktop computer on which to install a C++ compiler and visit the lecture, assignment, exam and submission pages. A smart-phone or tablet is not adequate for doing programming and cannot be substituted for a personal computer. Full instructions for installing compilers and submitting all work will be found in your first week reading at the Canvas course site. -
2018 - Straini DACIN SARA
Repartitie aferenta trimestrului IV - 2018 - straini DACIN SARA TITLU TITLU ORIGINAL AN TARA R1 R2 R3 R4 R5 R6 R7 S1 S2 S3 S4 S5 S6 S7 S8 S9 13 13 2010 US Gela Babluani Gela Babluani Greg Pruss - Gregory Pruss 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.001 episode 1 2008 US Thom Beers Will Raee Philip David Segal Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.002 episode 2 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.003 episode 3 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.004 episode 4 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.005 episode 5 2008 US Will Raee Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.006 episode 6 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.007 episode 7 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.008 episode 8 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.009 episode 9 2008 US Thom Beers Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.010 episode 10 2008 US Thom Beers Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season 1, sez.01, ep.011 episode 11 2008 US Tom McMahon Tom McMahon 1000 de intamplari mortale - 1000 ways to die - season -
Computer Science Engineering Bsc
FACULTY OF INFORMATICS 4028 Debrecen, Kassai út 26., 4002 Debrecen, P.O.Box 400. (36) 52/518-630, [email protected] COMPUTER SCIENCE ENGINEERING BSC Mode: Full-time training Program Coordinator: Dr. István Oniga ([email protected]) Mentor: Dr. Attila Kuki ([email protected]) Specialization: - General requirements of the diploma are regulated by The Rules and Regulations of The University of Debrecen. Diploma credit requirements Natural Science 44 credits Human and Economic Knowledge 15 credits Compulsory topics 96 credits Differentiated knowledge topics 30 credits Thesis 15 credits Free choise 10 credits Work and fire safety training 0 credit Physical Education (2 semesters) 0 credit Total (number of credits required to obtain degree) 210 credits 1 Natural Science – needed 44 credits Type and number Cre- Asses- Semes- Code Subject name practice Prerequisites Period dit lec. ment ter sem. lab Algorithms and INBMA0101G Basics of 2 2 PM 1 1 Programming INBMA0102E Electronics 6 2 2 PM 1 1 INBMA0102L INBMA0103E E Physics 6 2 2 1 1 INBMA0103L S INBMA0104E E Calculus 6 2 2 1 1 INBMA0104G S INBMA0105E Mathematics for 6 2 2 PM 1 1 INBMA0105L Engineers 1 INBMA0207E Data Structures E 6 2 2 2 2 INBMA0207G and Algorithms S INBMA0208E Mathematics for E INBMA0104 6 2 2 2 2 INBMA0208L Engineers 2 S INBMA0105 Probability INBMA0313E Theory and INBMA0104 6 2 2 PM 1 3 INBMA0313L Mathematical INBMA0105 Statistics Human and Economic Knowledge – needed 15 credits Type and number Cre- Asses- Semes- Code Subject name practice Prerequisites Period dit lec. ment ter sem.