Blender Developer Licence Cost
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Access Control
Security Engineering: A Guide to Building Dependable Distributed Systems CHAPTER 4 Access Control Going all the way back to early time-sharing systems, we systems people regarded the users, and any code they wrote, as the mortal enemies of us and each other. We were like the police force in a violent slum. —ROGER NEEDHAM Microsoft could have incorporated effective security measures as standard, but good sense prevailed. Security systems have a nasty habit of backfiring, and there is no doubt they would cause enormous problems. —RICK MAYBURY 4.1 Introduction Access control is the traditional center of gravity of computer security. It is where se- curity engineering meets computer science. Its function is to control which principals (persons, processes, machines, . .) have access to which resources in the sys- tem—which files they can read, which programs they can execute, how they share data with other principals, and so on. NOTE This chapter necessarily assumes more computer science background than previous chapters, but I try to keep it to a minimum. 51 Chapter 4: Access Controls Figure 4.1 Access controls at different levels in a system. Access control works at a number of levels, as shown in Figure 4.1, and described in the following: 1. The access control mechanisms, which the user sees at the application level, may express a very rich and complex security policy. A modern online busi- ness could assign staff to one of dozens of different roles, each of which could initiate some subset of several hundred possible transactions in the system. Some of these (such as credit card transactions with customers) might require online authorization from a third party while others (such as refunds) might require dual control. -
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. -
Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian
Northwestern Journal of Technology and Intellectual Property Volume 6 Article 3 Issue 1 Fall Fall 2007 Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian Recommended Citation Christopher Soghoian, Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them, 6 Nw. J. Tech. & Intell. Prop. 46 (2007). https://scholarlycommons.law.northwestern.edu/njtip/vol6/iss1/3 This Article is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Technology and Intellectual Property by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. NORTHWESTERN JOURNAL OF TECHNOLOGY AND INTELLECTUAL PROPERTY Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian Fall 2007 VOL. 6, NO. 1 © 2007 by Northwestern University School of Law Northwestern Journal of Technology and Intellectual Property Copyright 2007 by Northwestern University School of Law Volume 6, Number 1 (Fall 2007) Northwestern Journal of Technology and Intellectual Property Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them By Christopher Soghoian* I. INTRODUCTION ¶1 This paper focuses on the subsidization of a technology-based durable good.1 It goes on to discuss the delicate dance between the producer trying to protect its profit, competitors trying to create and sell aftermarket goods,2 and those innovative customers who use the items in completely unplanned and unprofitable ways. ¶2 An age old, but increasingly popular business model involves the subsidization of a proprietary durable good by a manufacturer, such that the good is sold below cost.3 Due to careful design, technological, and legal restrictions, the producer creates a primary product that is only compatible with its own aftermarket goods. -
Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet: -
The Basic Economics of Internet Infrastructure
Journal of Economic Perspectives—Volume 34, Number 2—Spring 2020—Pages 192–214 The Basic Economics of Internet Infrastructure Shane Greenstein his internet barely existed in a commercial sense 25 years ago. In the mid- 1990s, when the data packets travelled to users over dial-up, the main internet T traffic consisted of email, file transfer, and a few web applications. For such content, users typically could tolerate delays. Of course, the internet today is a vast and interconnected system of software applications and computing devices, which society uses to exchange information and services to support business, shopping, and leisure. Not only does data traffic for streaming, video, and gaming applications comprise the majority of traffic for internet service providers and reach users primarily through broadband lines, but typically those users would not tolerate delays in these applica- tions (for usage statistics, see Nevo, Turner, and Williams 2016; McManus et al. 2018; Huston 2017). In recent years, the rise of smartphones and Wi-Fi access has supported growth of an enormous range of new businesses in the “sharing economy” (like, Uber, Lyft, and Airbnb), in mobile information services (like, social media, ticketing, and messaging), and in many other applications. More than 80 percent of US households own at least one smartphone, rising from virtually zero in 2007 (available at the Pew Research Center 2019 Mobile Fact Sheet). More than 86 percent of homes with access to broadband internet employ some form of Wi-Fi for accessing applications (Internet and Television Association 2018). It seems likely that standard procedures for GDP accounting underestimate the output of the internet, including the output affiliated with “free” goods and the restructuring of economic activity wrought by changes in the composition of firms who use advertising (for discussion, see Nakamura, Samuels, and Soloveichik ■ Shane Greenstein is the Martin Marshall Professor of Business Administration, Harvard Business School, Boston, Massachusetts. -
Open Animation Projects
OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12 -
An Advanced Path Tracing Architecture for Movie Rendering
RenderMan: An Advanced Path Tracing Architecture for Movie Rendering PER CHRISTENSEN, JULIAN FONG, JONATHAN SHADE, WAYNE WOOTEN, BRENDEN SCHUBERT, ANDREW KENSLER, STEPHEN FRIEDMAN, CHARLIE KILPATRICK, CLIFF RAMSHAW, MARC BAN- NISTER, BRENTON RAYNER, JONATHAN BROUILLAT, and MAX LIANI, Pixar Animation Studios Fig. 1. Path-traced images rendered with RenderMan: Dory and Hank from Finding Dory (© 2016 Disney•Pixar). McQueen’s crash in Cars 3 (© 2017 Disney•Pixar). Shere Khan from Disney’s The Jungle Book (© 2016 Disney). A destroyer and the Death Star from Lucasfilm’s Rogue One: A Star Wars Story (© & ™ 2016 Lucasfilm Ltd. All rights reserved. Used under authorization.) Pixar’s RenderMan renderer is used to render all of Pixar’s films, and by many 1 INTRODUCTION film studios to render visual effects for live-action movies. RenderMan started Pixar’s movies and short films are all rendered with RenderMan. as a scanline renderer based on the Reyes algorithm, and was extended over The first computer-generated (CG) animated feature film, Toy Story, the years with ray tracing and several global illumination algorithms. was rendered with an early version of RenderMan in 1995. The most This paper describes the modern version of RenderMan, a new architec- ture for an extensible and programmable path tracer with many features recent Pixar movies – Finding Dory, Cars 3, and Coco – were rendered that are essential to handle the fiercely complex scenes in movie production. using RenderMan’s modern path tracing architecture. The two left Users can write their own materials using a bxdf interface, and their own images in Figure 1 show high-quality rendering of two challenging light transport algorithms using an integrator interface – or they can use the CG movie scenes with many bounces of specular reflections and materials and light transport algorithms provided with RenderMan. -
Sony Pictures Imageworks Arnold
Sony Pictures Imageworks Arnold CHRISTOPHER KULLA, Sony Pictures Imageworks ALEJANDRO CONTY, Sony Pictures Imageworks CLIFFORD STEIN, Sony Pictures Imageworks LARRY GRITZ, Sony Pictures Imageworks Fig. 1. Sony Imageworks has been using path tracing in production for over a decade: (a) Monster House (©2006 Columbia Pictures Industries, Inc. All rights reserved); (b) Men in Black III (©2012 Columbia Pictures Industries, Inc. All Rights Reserved.) (c) Smurfs: The Lost Village (©2017 Columbia Pictures Industries, Inc. and Sony Pictures Animation Inc. All rights reserved.) Sony Imageworks’ implementation of the Arnold renderer is a fork of the and robustness of path tracing indicated to the studio there was commercial product of the same name, which has evolved independently potential to revisit the basic architecture of a production renderer since around 2009. This paper focuses on the design choices that are unique which had not evolved much since the seminal Reyes paper [Cook to this version and have tailored the renderer to the specic requirements of et al. 1987]. lm rendering at our studio. We detail our approach to subdivision surface After an initial period of co-development with Solid Angle, we tessellation, hair rendering, sampling and variance reduction techniques, decided to pursue the evolution of the Arnold renderer indepen- as well as a description of our open source texturing and shading language components. We also discuss some ideas we once implemented but have dently from the commercially available product. This motivation since discarded to highlight the evolution of the software over the years. is twofold. The rst is simply pragmatic: software development in service of lm production must be responsive to tight deadlines CCS Concepts: • Computing methodologies → Ray tracing; (less the lm release date than internal deadlines determined by General Terms: Graphics, Systems, Rendering the production schedule). -
Production Global Illumination
CIS 497 Senior Capstone Design Project Project Proposal Specification Instructors: Norman I. Badler and Aline Normoyle Production Global Illumination Yining Karl Li Advisor: Norman Badler and Aline Normoyle University of Pennsylvania ABSTRACT For my project, I propose building a production quality global illumination renderer supporting a variety of com- plex features. Such features may include some or all of the following: texturing, subsurface scattering, displacement mapping, deformational motion blur, memory instancing, diffraction, atmospheric scattering, sun&sky, and more. In order to build this renderer, I propose beginning with my existing massively parallel CUDA-based pathtracing core and then exploring methods to accelerate pathtracing, such as GPU-based stackless KD-tree construction, and multiple importance sampling. I also propose investigating and possible implementing alternate GI algorithms that can build on top of pathtracing, such as progressive photon mapping and multiresolution radiosity caching. The final goal of this project is to finish with a renderer capable of rendering out highly complex scenes and anima- tions from programs such as Maya, with high quality global illumination, in a timespan measuring in minutes ra- ther than hours. Project Blog: http://yiningkarlli.blogspot.com While competing with powerhouse commercial renderers 1. INTRODUCTION like Arnold, Renderman, and Vray is beyond the scope of this project, hopefully the end result will still be feature- Global illumination, or GI, is one of the oldest rendering rich and fast enough for use as a production academic ren- problems in computer graphics. In the past two decades, a derer suitable for usecases similar to those of Cornell's variety of both biased and unbaised solutions to the GI Mitsuba render, or PBRT. -
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. -
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. -
Part 1: Practical Time Management Strategies. Tyler Hoffman // Digital Solutions Consultant the Vision
Part 1: Practical Time Management Strategies. Tyler Hoffman // Digital Solutions Consultant The Vision. 2 The Vision: Essentialism. 3 The Vision: Essentialism. Removing “non-essentials”… • Non-essential tasks • Non-essential engagements • Non-essential information …to focus on what is essential: • “What can I and only I do, that if done well, will make a real difference?” 4 The Plan: Big Rocks First. 5 The Plan: Eat that Frog. Plan, Prioritize and Complete your most essential tasks first. “There is never enough time to do everything, but there is always enough time to do the most important thing. ” 6 The Tools. 7 Eat that Frog: Upgrade Your Key Skills “With practice , you can learn any behavior or develop any habit that you consider either desirable or necessary.” 8 Lynda.com Online, Self-Paced Learning • Video-based online learning for hundreds of topics • Free for CWRU faculty • Available for computer, smartphone and tablet → case.edu/utech/lynda 9 Unlocking CWRU Account. • help.case.edu à reset forgotten password • IT Service Desk à 216.368.HELP (4357) 10 Grammarly Improve Grammar and Spelling • Browser plug-in for checking grammar and spelling online • Improves document and email proofreading in Microsoft Office • Basic account is free → grammarly.com → Lynda.com training video 11 Grammarly Check Grammar and Spelling Online 12 Eat that Frog: Plan Every Day in Advance “The most sophisticated Outlook system , computer app, or time planner is based on the same principle . It is based on your sitting down and making a list of everything you have to do before you begin.” 13 Wunderlist Create a Better To-Do List • Create lists of tasks that sync across all of your devices • Set reminders and due dates • Create sub-tasks • Invite collaborators • “Add to Calendar” feature → wunderlist.com → Lynda.com training video 14 Wunderlist Create a Better To-Do List 15 Eat that Frog: Use the ABCDE Method A A task that will yield very positive or negative results if you fail to do it.