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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. -
Columbia Photographic Images and Photorealistic Computer Graphics Dataset
Columbia Photographic Images and Photorealistic Computer Graphics Dataset Tian-Tsong Ng, Shih-Fu Chang, Jessie Hsu, Martin Pepeljugoski¤ fttng,sfchang,[email protected], [email protected] Department of Electrical Engineering Columbia University ADVENT Technical Report #205-2004-5 Feb 2005 Abstract Passive-blind image authentication is a new area of research. A suitable dataset for experimentation and comparison of new techniques is important for the progress of the new research area. In response to the need for a new dataset, the Columbia Photographic Images and Photorealistic Computer Graphics Dataset is made open for the passive-blind image authentication research community. The dataset is composed of four component image sets, i.e., the Photorealistic Com- puter Graphics Set, the Personal Photographic Image Set, the Google Image Set, and the Recaptured Computer Graphics Set. This dataset, available from http://www.ee.columbia.edu/trustfoto, will be for those who work on the photographic images versus photorealistic com- puter graphics classi¯cation problem, which is a subproblem of the passive-blind image authentication research. In this report, we de- scribe the design and the implementation of the dataset. The report will also serve as a user guide for the dataset. 1 Introduction Digital watermarking [1] has been an active area of research since a decade ago. Various fragile [2, 3, 4, 5] or semi-fragile watermarking algorithms [6, 7, 8, 9] has been proposed for the image content authentication and the detection of image tampering. In addition, authentication signature [10, ¤This work was done when Martin spent his summer in our research group 1 11, 12, 13] has also been proposed as an alternative image authentication technique. -
John Carmack Archive - .Plan (1998)
John Carmack Archive - .plan (1998) http://www.team5150.com/~andrew/carmack March 18, 2007 Contents 1 January 5 1.1 Some of the things I have changed recently (Jan 01, 1998) . 5 1.2 Jan 02, 1998 ............................ 6 1.3 New stuff fixed (Jan 03, 1998) ................. 7 1.4 Version 3.10 patch is now out. (Jan 04, 1998) ......... 8 1.5 Jan 09, 1998 ............................ 9 1.6 I AM GOING OUT OF TOWN NEXT WEEK, DON’T SEND ME ANY MAIL! (Jan 11, 1998) ................. 10 2 February 12 2.1 Ok, I’m overdue for an update. (Feb 04, 1998) ........ 12 2.2 Just got back from the Q2 wrap party in vegas that Activi- sion threw for us. (Feb 09, 1998) ................ 14 2.3 Feb 12, 1998 ........................... 15 2.4 8 mb or 12 mb voodoo 2? (Feb 16, 1998) ........... 19 2.5 I just read the Wired article about all the Doom spawn. (Feb 17, 1998) .......................... 20 2.6 Feb 22, 1998 ........................... 21 1 John Carmack Archive 2 .plan 1998 3 March 22 3.1 American McGee has been let go from Id. (Mar 12, 1998) . 22 3.2 The Old Plan (Mar 13, 1998) .................. 22 3.3 Mar 20, 1998 ........................... 25 3.4 I just shut down the last of the NEXTSTEP systems running at id. (Mar 21, 1998) ....................... 26 3.5 Mar 26, 1998 ........................... 28 4 April 30 4.1 Drag strip day! (Apr 02, 1998) ................. 30 4.2 Things are progressing reasonably well on the Quake 3 en- gine. (Apr 08, 1998) ....................... 31 4.3 Apr 16, 1998 .......................... -
HP and Autodesk Create Stunning Digital Media and Entertainment with HP Workstations
HP and Autodesk Create stunning digital media and entertainment with HP Workstations. Does your workstation meet your digital Performance: Advanced compute and visualization power help speed your work, beat deadlines, and meet expectations. At the heart of media challenges? HP Z Workstations are the new Intel® processors with advanced processor performance technologies and NVIDIA Quadro professional It’s no secret that the media and entertainment industry is constantly graphics cards with the NVIDIA CUDA parallel processing architecture; evolving, and the push to deliver better content faster is an everyday delivering real-time previewing and editing of native, high-resolution challenge. To meet those demands, technology matters—a lot. You footage, including multiple layers of 4K video. Intel® Turbo Boost1 need innovative, high-performing, reliable hardware and software tools is designed to enhance the base operating frequency of processor tuned to your applications so your team can create captivating content, cores, providing more processing speed for single and multi-threaded meet tight production schedules, and stay on budget. HP offers an applications. The HP Z Workstation cooling design enhances this expansive portfolio of integrated workstation hardware and software performance. solutions designed to maximize the creative capabilities of Autodesk® software. Together, HP and Autodesk help you create stunning digital Reliability: HP product testing includes application performance, media. graphics and comprehensive ISV certification for maximum productivity. All HP Workstations come with a limited 3-year parts, 3-year labor and The HP Difference 3-year onsite service (3/3/3) standard warranty that is extendable up to 5 years.2 You can be confident in your HP and Autodesk solution. -
Maaston Mallintaminen Visualisointikäyttöön
MAASTON MALLINTAMINEN VISUALISOINTIKÄYTTÖÖN LAHDEN AMMATTIKORKEAKOULU Tekniikan ala Mediatekniikan koulutusohjelma Teknisen Visualisoinnin suuntautumisvaihtoehto Opinnäytetyö Kevät 2012 Ilona Moilanen Lahden ammattikorkeakoulu Mediatekniikan koulutusohjelma MOILANEN, ILONA: Maaston mallintaminen visualisointikäyttöön Teknisen Visualisoinnin suuntautumisvaihtoehdon opinnäytetyö, 29 sivua Kevät 2012 TIIVISTELMÄ Maastomallit ovat yleisesti käytössä peli- ja elokuvateollisuudessa sekä arkkitehtuurisissa visualisoinneissa. Mallinnettujen 3D-maastojen käyttö on lisääntynyt sitä mukaa, kun tietokoneista on tullut tehokkaampia. Opinnäytetyössä käydään läpi, millaisia maastonmallintamisen ohjelmia on saatavilla ja osa ohjelmista otetaan tarkempaan käsittelyyn. Opinnäytetyössä käydään myös läpi valittujen ohjelmien hyvät ja huonot puolet. Tarkempaan käsittelyyn otettavat ohjelmat ovat Terragen- sekä 3ds Max - ohjelmat. 3ds Max-ohjelmassa käydään läpi maaston luonti korkeuskartan ja Displace modifier -toiminnon avulla, sekä se miten maaston tuominen onnistuu Google Earth-ohjelmasta Autodeskin tuotteisiin kuten 3ds Max:iin käyttäen apuna Google Sketchup -ohjelmaa. Lopuksi vielä käydään läpi ohjelmien hyvät ja huonot puolet. Casessa mallinnetaan maasto Terragen-ohjelmassa sekä 3ds Max- ohjelmassa korkeuskartan avulla ja verrataan kummalla mallintaminen onnistuu paremmin. Maasto mallinnettiin valituilla ohjelmilla ja käytiin läpi saatavilla olevia maaston mallinnusohjelmia. Lopputuloksena päädyttiin, että valokuvamaisen lopputuloksen saamiseksi Terragen -
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics: The Game Engine and Art Modifications (Under the direction of Dr. Andrew Johnston). This dissertation examines episodes in the history of video game modding between 1995 and 2010, situated around the introduction of the game engine as a software framework for developing three-dimensional gamespaces. These modifications made to existing software and hardware were an aesthetic practice used by programmers and artists to explore the relationship between abstraction, the materiality of game systems, and our phenomenal engagement with digital media. The contemporary artists that I highlight—JODI, Cory Arcangel, Orhan Kipcak, Julian Oliver, and Tom Betts—gravitated toward modding because it allowed them to unveil the technical processes of the engine underneath layers of the game’s familiar interface, in turn, recalibrating conventional play into sensual experiences of difference, uncertainty, and the new. From an engagement with abstract forms, they employed modding techniques to articulate new modes of aesthetic participation through an affective encounter with altered game systems. Furthermore, they used abstraction, the very strangeness of the mod’s formal elements, to reveal our habitual interactions with video games by destabilizing conventional gamespaces through sensory modalities of apperception and proprioception. In considering the imbrication of technics and aesthetics in game engines, this work aims to resituate modding practices within a dynamic and more inclusive understanding -
´Anoq of the Sun Detailed CV As a Graphics Artist
Anoq´ of the Sun Detailed CV as a Graphics Artist Anoq´ of the Sun, Hardcore Processing ∗ January 31, 2010 Online Link for this Detailed CV This document is available online in 2 file formats: • http://www.anoq.net/music/cv/anoqcvgraphicsartist.pdf • http://www.anoq.net/music/cv/anoqcvgraphicsartist.ps All My CVs and an Overview All my CVs (as a computer scientist, musician and graphics artist) and an overview can be found at: • http://www.hardcoreprocessing.com/home/anoq/cv/anoqcv.html Contents Overview Employment, Education and Skills page 2 ProjectList page 3 ∗ c 2010 Anoq´ of the Sun Graphics Related Employment and Education Company My Role Dates Duration 1 day=7.5 hrs HardcoreProcessing GraphicsArtist 1998-now (seeproject list) I founded this company Pre-print December 1998 Marketing www.hardcoreprocessing.com Anoq´ Music Graphics Artist 2007-now (see project list) I founded this record label Pre-print December 2007 Marketing www.anoq.net/music/label CasperThorsøeVideo Production 3DGraphicsArtist 1997-1998 1year www.ctvp.com (Partly System Administrator) Visionik Worked Partly as a 1997 5 months www.visionik.dk Graphics Artist (not full-time graphics!) List of Graphics Related Skills (Updated on 2010-01-31) (Years Are Not Full-time Durations, But Years with Active Use) Key for ”Level”: 1: Expert, 2: Lots of Routine, 3: Routine, 4: Good Knowledge, 5: Some Knowledge Skill Name / Group Doing What Level Latest Years with (1-5) Use Active Use Graphics Software and Equipment: Alias|Wavefront PowerAnimator Modelling, Animation 2 1998 1 Alias|Wavefront Maya Modelling, Animation 2 1998 1 LightWave 3D Modelling, Animation 2 1997 4 SoftImage 3D Modelling, Animation 5 1998 0.2 3D Studio MAX Modelling, Animation 5 1997 0.5 Blue Moon Rendering Tools (a.k.a. -
More Human Than Non/Human: Posthumanism, Embodied Cognition, and Video Games As Affective Experience
The Philosophy of Computer Games Conference, Malta 2016 More Human than Non/Human: Posthumanism, Embodied Cognition, and Video Games as Affective Experience Sandy Appleöff Lyons Laguna College of Art + Design Lisa Brown Jaloza Laguna College of Art + Design On the Incomplete Just as it would be impossible for an individual to play every single game, no scholar could ever hope to read all the things. At some point, they have to switch gears from researching to writing, or else they’d never finish anything. In the interest of full disclosure, we would like to inform you, dear reader, that this particular paper and the project it represents are, at this moment in time, incomplete. Given that the paper is being written in preparation for the 10th Annual Philosophy of Computer Games Conference, that’s not necessarily a bad thing; after all, academic and professional conferences are powerful sites of knowledge production that enable individuals to come together and share their work with a broader collective before they revisit, revise, and ultimately strengthen an argument. Much as we might wish to claim this as our rationale, that is not, in fact, the case. Rather, ours is a story of contingency, precarity, and refusal. Couched in no uncertain terms, our research has taken us in several divergent yet promising directions and we have been unable to read as much as we would like. The institution at which we are both employed (one of us as a part-time adjunct) does not offer tenure, and our program is a nascent one—as such, contract renewals for the present academic year were by no means guaranteed. -
Animating Real-Time Game Characters.Pdf
Copyright 2003 by CHARLES RIVER MEDIA, INC. All rights reserved. No part of this publication may be reproduced in any way, stored in a retrieval system of any type, or transmitted by any means or media, electronic or mechanical, including, but not limited to, photocopy, recording, or scanning, without prior permission in writing from the publisher. Publisher: Jenifer Niles Production: Publishers' Design and Production Services, Inc. Cover Design: The Printed Image Cover Images: Paul Steed CHARLES RIVER MEDIA, INC. 20 Downer Avenue, Suite 3 Hingham, Massachusetts 02043 781-740-0400 781-740-8816 (FAX) [email protected] www.charlesriver.com This book is printed on acid-free paper. Paul Steed. Animating Real-Time Game Characters. ISBN: 1-58450-270-3 All Betty Bad characters © 2002 WildTangent. All rights reserved. All brand names and product names mentioned in this book are trademarks or service marks of their re- spective companies. Any omission or misuse (of any kind) of service marks or trademarks should not be regarded as intent to infringe on the property of others. The publisher recognizes and respects all marks used by companies, manufacturers, and developers as a means to distinguish their products. Library of Congress Cataloging-in-Publication Data Steed, Paul. Animating real-time game characters / Paul Steed. p. cm. ISBN 1-58450-270-3 (paperback with CD-ROM : alk. paper) 1. Computer animation. 2. Computer games—Design. 3. Videogame characters. 4. Real-time programming. I. Title. TR897.7 .572 2003 794.8'15—dc21 2002014664 Printed in the United States of America 02 7 6 5 4 3 2 First Edition CHARLES RIVER MEDIA titles are available for site license or bulk purchase by institutions, user groups, cor- porations, etc. -
Apple Directions 06/96
The Developer Business Report June 1996 AppleDirections CONTENTS APPLE NEWS STRATEGY MOSAIC IBM Licenses the Mac OS 1 IBM Licenses Why Mac OS 8 Strategy Mosaic: Why Mac OS 8 is Important 1 the Mac OS Is Important Editor’s Note: Too Much News 2 New Mac OS Sublicensees By Gregg Williams, Apple Directions staff IndustryWatch 5 Also Announced New Apple Developer Relations Part 1: Backward Compatibility Charter, Organization 12 and the Mac OS 8 Architecture Taking another large step forward in its Apple Multimedia Program Becomes expanding Mac OS licensing program, Apple Apple Media Program 13 Computer, Inc., recently licensed the Mac OS Mac OS 8 (formerly known by the code name New Release Schedule for Mac OS 8 13 to IBM. As a result of the agreement, Apple and Copland) is a big step in the ongoing evolu- IBM expect to work together to expand Power tion of the Mac OS, even bigger than the tran- New QuickTime VR 1.0 Tools Made PC microprocessor and Mac OS market share sition from System 6 to System 7. With Mac Available as Apple Plans Next far beyond what it is today by offering OS 8, Apple Computer, Inc., is stepping away QuickTime VR Release 13 customers additional sources and greater from an operating system designed in the choices for Mac OS–based systems. mid-1980s and moving toward a later version Apple Licenses Sun’s Java 14 According to the agreement, IBM will be that will serve the Mac OS platform well past Technical Support Now Available to able to sublicense the Mac OS with IBM Power the year 2000. -
Deus Ex Manual V6
DEFAULT KEY MAPPING Moving Using Items/Weapons W, W Move forward <, e Use object in hand Z, S Move backward ? Use object in world A, A Strafe (sidestep) left t, > Drop/throw item S, D Strafe (sidestep) right b Put item away Z Turn left Mousewheel➝ Select next belt item ➝ C Turn right Mousewheel Select previous belt item Q Lean left 0-9 Select belt items E Lean right 1 Open Inventory screen z, i Jump ; Reload weapon X, Num . Crouch [ Toggle scope M Mouse look ] Toggle laser sight s (hold) Walk/run ' Change ammo l Toggle walk/run Other Looking Around p Pause game d, R Look up q Open main menu y, V Look down 2 Open Goals/Notes screen j, F Center view 3-= Toggle nanoaugmenta- tions on and off Num + Quick save Num / Quick load Num * Take screen shot Credits Producer and Project Director: Music: Alexander Brandon of Clayton Palma, Corey Fong, Warren Spector Straylight Productions Colby McCracken, Ryan Natale, Lead Programmer and Assistant New York, Hong Kong and Paris Ralph Ortiz, Bill Schmidt, Director: Chris Norden Club Songs: Reeves Gabrels Kenneth Schmidt, Beau Teora, Kjell Vistad, Jason Walker Programmers: Scott Martin, QA Leads: James Flores (Ion Storm Albert Yarusso Austin), Jay Franke (Ion Storm Eidos Honcho: John Kavanagh Lead Designer: Harvey Smith Dallas), Mike Orenich (Eidos Associate Producer: Peter Interactive US), Tom Murton Marquardt Designers: Marshall Andrews, (Eidos Interactive Europe) Ricardo Bare, Monte Martinez, Hardware/Net/Tech/Video Support: Steve Powers, Robert White Assistant Lead Tester (Eidos Einar Dietz, Chad Warren -
HISTORY of APPLE[Tm] MACINTOSH[Tm] OPERATING SYSTEM
HISTORY OF APPLE[tm] MACINTOSH[tm] OPERATING SYSTEM LisaDesk : released, on January 1983, for Apple Lisa computer. On January 1985, Lisa 2-10, outfitted with MacWorks, was renamed Macintoh XL. System 1 (1.0 and 1.1) : released respectively on January 1984 and May 1984, both versions were directly derived from LisaDesk offered less functionality, in favor of being more stable. Certain functions of LisaDesk were included in later versions of Mac[tm] OS, including Mac[tm] OS X. System 2 (1.2 to 2.1) : while integrating new functions, the principal objective of this system was to allow a better management to compensate for the absence of a hard disk on first models of Macintosh. System 3 (2.2 to 3.3) : this system accompanied, on 1986, the new Macintosh models. This system had more facility and was more powerful, it allowed the integration of new file format HFS, of new communications functionality, and laser printer support. System 4 & 5 (4.0 to 5.1) : these systems accompanied the first Macintosh models with colour monitors, and allowed transition between mono-task system and cooperative multi-task system with first generation of Multifinder which made possible to manage several applications simultaneously. System 6 (6.0 to 6.0.8) : improvements to the cooperative multi-task system with second generation of Multifinder. It was released in many specialized versions according to the model which was equipped to meet specific needs, particularly for graphic applications. System 7 (7.0 to 7.6.1) : complete integration of cooperative multi-task processing inside the system, this system gradually integrated increasingly significant functionality concerning multimedia applications and Internet.