Modifing Thingiverse Model in Blender
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Studio Toolkit for Flexibles 14 User Guide
Studio Toolkit for Flexibles 14 User Guide 06 - 2015 Studio Toolkit for Flexibles Contents 1. Copyright Notice.......................................................................................................................................................................... 4 2. Introduction.....................................................................................................................................................................................6 2.1 About Studio....................................................................................................................................................................... 6 2.2 Workflow and Concepts................................................................................................................................................. 7 2.3 Quick-Start Tutorial...........................................................................................................................................................8 3. Creating a New Bag.................................................................................................................................................................12 3.1 Pillow Bags........................................................................................................................................................................13 3.1.1 Panel Order and Fin vs. Lap Seals.............................................................................................................14 3.2 Gusseted Bags.................................................................................................................................................................15 -
Autodesk® Game Development Solutions Create. Animate. Integrate
Autodesk® Game Development Solutions Create. Animate. Integrate. Image courtesy of Bungie Studios of courtesy Image Create, animate, and integrate more productively with cutting-edge interoperability, using Autodesk game development solutions. Autodesk provides the game development Combined with 3ds Max, Maya, Autodesk® …with the Best Tools …with the Highest Productivity community with production-proven tools that MotionBuilder®, and Mudbox software, you can Artists consistently push the boundaries of Artists can create and animate assets, then enable end-to-end top-quality asset creation. take advantage of Autodesk’s interoperability creativity with the help of Autodesk’s industry- integrate them with a game engine more With this suite of solutions, developers can create throughout your game development process. leading game development tools. Whether you efficiently than ever before. In fact, Autodesk’s whatever they imagine. Now your entire team can create, animate, and are developing for the latest generation pipelines, most recent releases can help you streamline your integrate its work as well as bridge asset creation Xbox 360®, PLAYSTATION®3, and Nintendo® Wii™ creative pipeline to save both time and money. Industry watchers estimate that 85 to 90 percent and runtime disciplines. Ultimately, your facility platforms, or legacy consoles, PC, Mac® computers, of all contemporary video games use Autodesk can realize a production environment that is more and mobile games pipelines, Autodesk tools enjoy …with Extensive Interoperability tools in development. The worldwide popularity creative and productive. wide acceptance and are an ideal choice. Our tools both empower and expedite the creative and extensive use of Autodesk® 3ds Max® and process. Autodesk 3ds Max, Maya, MotionBuilder, Autodesk® Maya® software make these products Create, Animate, and Integrate… and Mudbox software can be used in concert to industry standards. -
Compression and Streaming of Polygon Meshes
Compression and Streaming of Polygon Meshes by Martin Isenburg A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Computer Science. Chapel Hill 2005 Approved by: Jack Snoeyink, Advisor Craig Gotsman, Reader Peter Lindstrom, Reader Dinesh Manocha, Committee Member Ming Lin, Committee Member ii iii ABSTRACT MARTIN ISENBURG: Compression and Streaming of Polygon Meshes (Under the direction of Jack Snoeyink) Polygon meshes provide a simple way to represent three-dimensional surfaces and are the de-facto standard for interactive visualization of geometric models. Storing large polygon meshes in standard indexed formats results in files of substantial size. Such formats allow listing vertices and polygons in any order so that not only the mesh is stored but also the particular ordering of its elements. Mesh compression rearranges vertices and polygons into an order that allows more compact coding of the incidence between vertices and predictive compression of their positions. Previous schemes were designed for triangle meshes and polygonal faces were triangulated prior to compression. I show that polygon models can be encoded more compactly by avoiding the initial triangulation step. I describe two compression schemes that achieve better compression by encoding meshes directly in their polygonal representation. I demonstrate that the same holds true for volume meshes by extending one scheme to hexahedral meshes. Nowadays scientists create polygonal meshes of incredible size. Ironically, com- pression schemes are not capable|at least not on common desktop PCs|to deal with giga-byte size meshes that need compression the most. -
Meshes and More CMSC425.01 Fall 2019 Administrivia
Meshes and More CMSC425.01 fall 2019 Administrivia • Google form distributed for grading issues Today’s question How to represent objects Polygonal meshes • Standard representation of 3D assets • Questions: • What data and how stored? • How generate them? • How color and render them? Data structure • Geometric information • Vertices as 3D points • Topology information • Relationships between vertices • Edges and faces Vertex and fragment shaders • Mapping triangle to screen • Map and color vertices • Vertex shaders in 3D • Assemble into fragments • Render fragments • Fragment shaders in 2D Normals and shading – shading equation • Light eQuation • k terms – color of object • L terms – color of light • Ambient term - ka La • Constant at all positions • Diffuse term - kd (n • l) • Related to light direction • Specular term - (v • r)Q • Related to light, viewer direction Phong exponent • Powers of cos (v • r)Q • v and r normalized • Tightness of specular highlights • Shininess of object Normals and shading • Face normal • One per face • Vertex normal • One per vertex. More accurate • Interpolation • Gouraud: Shade at vertices, interpolate • Phong: Interpolate normals, shade Texture mapping • Vary color across figure • ka, kd and ks terms • Interpolate position inside polygon to get color • Not trivial! • Mapping complex Bump mapping • “Texture” map of • Perturbed normals (on right) • Perturbed height (on left) Summary – full polygon mesh asset • Mesh can have vertices, faces, edges plus normals • Material shader can have • Color (albedo) • -
Making a Game Character Move
Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future. -
Openscad User Manual (PDF)
OpenSCAD User Manual Contents 1 Introduction 1.1 Additional Resources 1.2 History 2 The OpenSCAD User Manual 3 The OpenSCAD Language Reference 4 Work in progress 5 Contents 6 Chapter 1 -- First Steps 6.1 Compiling and rendering our first model 6.2 See also 6.3 See also 6.3.1 There is no semicolon following the translate command 6.3.2 See Also 6.3.3 See Also 6.4 CGAL surfaces 6.5 CGAL grid only 6.6 The OpenCSG view 6.7 The Thrown Together View 6.8 See also 6.9 References 7 Chapter 2 -- The OpenSCAD User Interface 7.1 User Interface 7.1.1 Viewing area 7.1.2 Console window 7.1.3 Text editor 7.2 Interactive modification of the numerical value 7.3 View navigation 7.4 View setup 7.4.1 Render modes 7.4.1.1 OpenCSG (F9) 7.4.1.1.1 Implementation Details 7.4.1.2 CGAL (Surfaces and Grid, F10 and F11) 7.4.1.2.1 Implementation Details 7.4.2 View options 7.4.2.1 Show Edges (Ctrl+1) 7.4.2.2 Show Axes (Ctrl+2) 7.4.2.3 Show Crosshairs (Ctrl+3) 7.4.3 Animation 7.4.4 View alignment 7.5 Dodecahedron 7.6 Icosahedron 7.7 Half-pyramid 7.8 Bounding Box 7.9 Linear Extrude extended use examples 7.9.1 Linear Extrude with Scale as an interpolated function 7.9.2 Linear Extrude with Twist as an interpolated function 7.9.3 Linear Extrude with Twist and Scale as interpolated functions 7.10 Rocket 7.11 Horns 7.12 Strandbeest 7.13 Previous 7.14 Next 7.14.1 Command line usage 7.14.2 Export options 7.14.2.1 Camera and image output 7.14.3 Constants 7.14.4 Command to build required files 7.14.5 Processing all .scad files in a folder 7.14.6 Makefile example 7.14.6.1 Automatic -
Automatic 2.5D Cartoon Modelling
Automatic 2.5D Cartoon Modelling Fengqi An School of Computer Science and Engineering University of New South Wales A dissertation submitted for the degree of Master of Science 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES T hesis!Dissertation Sheet Surname or Family name. AN First namEY. Fengqi Orner namels: Zane Abbreviatlo(1 for degree as given in the University calendar: MSc School: Computer Science & Engineering Faculty: Engineering Title; Automatic 2.50 Cartoon Modelling Abstract 350 words maximum: (PLEASE TYPE) Declarat ion relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole orin part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of thts thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation· Abstracts International (this is applicable to-doctoral theses only) .. ... .............. ~..... ............... 24 I 09 I 2012 Signature · · ·· ·· ·· ···· · ··· ·· ~ ··· · ·· ··· ···· Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writi'ng. Requests for -
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. -
Seamless Texture Mapping of 3D Point Clouds
Seamless Texture Mapping of 3D Point Clouds Dan Goldberg Mentor: Carl Salvaggio Chester F. Carlson Center for Imaging Science, Rochester Institute of Technology Rochester, NY November 25, 2014 Abstract The two similar, quickly growing fields of computer vision and computer graphics give users the ability to immerse themselves in a realistic computer generated environment by combining the ability create a 3D scene from images and the texture mapping process of computer graphics. The output of a popular computer vision algorithm, structure from motion (obtain a 3D point cloud from images) is incomplete from a computer graphics standpoint. The final product should be a textured mesh. The goal of this project is to make the most aesthetically pleasing output scene. In order to achieve this, auxiliary information from the structure from motion process was used to texture map a meshed 3D structure. 1 Introduction The overall goal of this project is to create a textured 3D computer model from images of an object or scene. This problem combines two different yet similar areas of study. Computer graphics and computer vision are two quickly growing fields that take advantage of the ever-expanding abilities of our computer hardware. Computer vision focuses on a computer capturing and understanding the world. Computer graphics con- centrates on accurately representing and displaying scenes to a human user. In the computer vision field, constructing three-dimensional (3D) data sets from images is becoming more common. Microsoft's Photo- synth (Snavely et al., 2006) is one application which brought attention to the 3D scene reconstruction field. Many structure from motion algorithms are being applied to data sets of images in order to obtain a 3D point cloud (Koenderink and van Doorn, 1991; Mohr et al., 1993; Snavely et al., 2006; Crandall et al., 2011; Weng et al., 2012; Yu and Gallup, 2014; Agisoft, 2014). -
A Procedural Interface Wrapper for Houdini Engine in Autodesk Maya
A PROCEDURAL INTERFACE WRAPPER FOR HOUDINI ENGINE IN AUTODESK MAYA A Thesis by BENJAMIN ROBERT HOUSE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Chair of Committee, André Thomas Committee Members, John Keyser Ergun Akleman Head of Department, Tim McLaughlin May 2019 Major Subject: Visualization Copyright 2019 Benjamin Robert House ABSTRACT Game development studios are facing an ever-growing pressure to deliver quality content in greater quantities, making the automation of as many tasks as possible an important aspect of modern video game development. This has led to the growing popularity of integrating procedural workflows such as those offered by SideFX Software’s Houdini FX into the already established de- velopment pipelines. However, the current limitations of the Houdini Engine plugin for Autodesk Maya often require developers to take extra steps when creating tools to speed up development using Houdini. This hinders the workflow for developers, who have to design their Houdini Digi- tal Asset (HDA) tools around the limitations of the Houdini Engine plugin. Furthermore, because of the implementation of the HDA’s parameter display in Maya’s Attribute Editor when using the Houdini Engine Plugin, artists can easily be overloaded with too much information which can in turn hinder the workflow of any artists who are using the HDA. The limitations of an HDA used in the Houdini Engine Plugin in Maya as a tool that is intended to improve workflow can actually frustrate and confuse the user, ultimately causing more harm than good. -
FBX SDK Programmeres Guide 2011
FBX SDK FBX SDK Programmer’s Guide 2011 April 2010 Autodesk® FBX® 2011 SDK © 2010 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. The following are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, Algor, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backburner, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Fempro, Fire, Flame, Flint, FMDesktop, Freewheel, GDX Driver, Green Building Studio, Heads-up Design, Heidi, HumanIK, -
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene Interpretation via an Ontological Framework for Intelligent Applications in Medical Image Sequence and Video Analysis by Leslie Frank Sikos Thesis Submitted to Flinders University for the degree of Doctor of Philosophy College of Science and Engineering 5 March 2018 Contents Preface ............................................................................................................................................ VI List of Figures .............................................................................................................................. VIII List of Tables .................................................................................................................................. IX List of Listings .................................................................................................................................. X Declaration .................................................................................................................................... XII Acknowledgements ..................................................................................................................... XIII Chapter 1 Introduction and Motivation ......................................................................................... 1 1.1 The Limitations of Video Metadata.............................................................................................. 1 1.2 The Limitations of Feature Descriptors: the Semantic Gap .....................................................