Guide to Graphics Software Tools

Total Page:16

File Type:pdf, Size:1020Kb

Guide to Graphics Software Tools Jim x. ehen With contributions by Chunyang Chen, Nanyang Yu, Yanlin Luo, Yanling Liu and Zhigeng Pan Guide to Graphics Software Tools Second edition ~ Springer Contents Pre~ace ---------------------- - ----- - -v Chapter 1 Objects and Models 1.1 Graphics Models and Libraries ------- 1 1.2 OpenGL Programming 2 Understanding Example 1.1 3 1.3 Frame Buffer, Scan-conversion, and Clipping ----- 5 Scan-converting Lines 6 Scan-converting Circles and Other Curves 11 Scan-converting Triangles and Polygons 11 Scan-converting Characters 16 Clipping 16 1.4 Attributes and Antialiasing ------------- -17 Area Sampling 17 Antialiasing a Line with Weighted Area Sampling 18 1.5 Double-bl{tferingfor Animation - 21 1.6 Review Questions ------- - -26 X Contents 1.7 Programming Assignments - - -------- - -- 27 Chapter 2 Transformation and Viewing 2.1 Geometrie Transformation ----- 29 2.2 2D Transformation ---- - ---- - 30 20 Translation 30 20 Rotation 31 20 Scaling 32 Composition of2D Transformations 33 2.3 3D Transformation and Hidden-surjaee Removal -- - 38 3D Translation, Rotation, and Scaling 38 Transfonnation in OpenGL 40 Hidden-surface Remova! 45 Collision Oetection 46 30 Models: Cone, Cylinder, and Sphere 46 Composition of30 Transfonnations 51 2.4 Viewing ----- - 56 20 Viewing 56 30 Viewing 57 30 Clipping Against a Cube 61 Clipping Against an Arbitrary Plane 62 An Example ofViewing in OpenGL 62 2.5 Review Questions 65 2.6 Programming Assignments 67 Chapter 3 Color andLighting 3.1 Color -------- - - 69 RGß Mode and Index Mode 70 Eye Characteristics and Gamma Correction 71 Contents xi 3.2 Color Interpolation --- - 72 3.3 Lighting - - 74 Lighting Components 74 OpenGL Lighting Model 79 3.4 Visible-Surface Shading ----------- - 85 Back-Face Culling 85 Polygon Shading Models 87 Ray Tracing and Radiosity 90 3.5 Review Questions - 96 3.6 Programming Assignments 100 Chapter 4 Blending and Texture Mapping 4.1 Blending ---------- 101 OpenGL Blending Factors 102 Transparency and Hidden-Surface Removal 103 Antialiasing 105 Fog 105 4.2 Images ------ 107 4.3 Texture Mapping ------- 108 Pixel and Texel Relations 108 Texture Objects 112 Texture Coordinates 113 Levels ofDetail in Texture Mapping 116 4.4 Advanced Texture Mapping ----- - --- - 117 Bump Mapping 117 Light Mapping 119 Environment Mapping 120 Automatie Texture Coordinates 122 Displacement Mapping 123 4.5 RevieYv Questions - - - - ­ 124 4.6 Programming Assignments 125 xii Contents Chapter 5 OpenGL Programming in Java: JOGL 5.1 Introduction --- - - - - ---------- - -127 5.2 Setting Up Working Environment ------- - -128 5.3 Drawing a Point --- - 132 5.4 Drawing Randomly Generated Points --- - 134 5.5 Building an Executable JAR File -- - --- - 136 5.6 Review Questions - - - - - - - - ­ --- - --- 138 5.7 Programming Assignments -------- - 138 Chapter 6 Curved Models 6.1 Introduction ---- - -141 6.2 Quadratic Surfaces ------------- - - 142 Sphere 142 Ellipsoid 143 Cone 144 Cylinder 144 Texture Mapping on GLU Models 145 6.3 Tori, Po(vhedra, and Teapots in GLUT -------- 148 Tori 148 Polyhedra 148 Teapots 149 6.4 Cubic Curves - -152 Continuity Conditions 153 Hennite Curves 155 Bezier Curves 158 Natural Splines 163 B-splines 164 Non-unifonn B-splines 167 NURBS 168 Contents xiii 6.5 Bi-cubic Swlaces ------------ - 169 Hennite Surfaces 169 Bezier Surfaces 171 B-spline Surfaces 175 6.6 Review Questions 175 6.7 Programming Assignments 176 Chapter 7 Vertex Shading, Pixel Shading, and Parallel Processing 7.1 1ntrodllction 179 7.2 Programmable Pipelines 180 7.3 GLSL, Cg, and HLSL 182 Cg Basics 182 AVertex Program 183 Transfonnation and Viewing 186 A Fragment Program 188 7.4 Parallel Processing and Cuda 192 7.5 Introdllction 194 7.6 Per-Vertex Lighting 194 Vertex and Light Source Transfonnation 195 Vertex Nonnal Transfonnation 196 OpenGL Lighting Model 197 7.7 Per-Fragment Lighting 206 7.8 Per-Fragment Texture Mapping ----- 211 Texture Coordinates 211 Texture Objects 212 Texture and Lighting Blending 213 7.9 Per-Fragment Bump Mapping --- - - - 215 Bump Map Texture Coordinates 215 Bump Map Object 216 Nonnal Calculations 217 xiv Contents Fragment Lighting Calculations 218 7.10 Review Questions ---- - 221 7.11 Programming Assignments --- - 221 Chapter 8 Programming in Java3D 8.1 1ntroduction --- - 223 8.2 Scene Graph --- - 223 Setting Up Working Environment 225 Drawing a ColorCube Object 228 8.3 The SimpleUniverse - - 229 8.4 Transformation - - 232 8.5 Multiple Scene Graph Branches ------ - --- - 233 8.6 Animation -------------- - 236 8.7 Primitives -------------- - 240 8.8 Appearance - --------------- - --- - 244 8.9 Texture Mapping - - 247 8.10 Files and Loaders - - 249 8.11 Summary ------- - 251 8.12 Review Questions -- - ---- - 251 8.13 Programming Assignments ------ - 251 Chapter 9 OpenGL Shading Language 9.1 Introduction ----- - ---------- - - -- - 253 9.2 Anatomy oIa GLSL Program - - 253 9.3 GLSL Shader Basics - - 255 Contents XV 9.4 Compiling Shaders 256 9.5 Linking Shaders 257 9.6 ExeclIting Shaders 259 9.7 veuying Variables 260 9.8 Un!form Variables 261 9.9 Using TextlIres 263 9.10 Lighting 264 9.11 Advanced Shaders Techniqlles 267 Post Processing 267 Depth-based Texture Processing 270 Fog 274 Chapter 10 Direct3D Shader Programming 10.1 Introdllction ----- - 283 Setting Up Working Environment 284 An Example Framework 285 10.2 Rendering Primitives ----- - - - - - 288 Creating Primitives 289 Animation Using Shaders 294 10.3 Pixel Lighting ------ --------- - 298 Creating Depth Stencil View 299 Creating Input Layout 300 Creating Cube Geometry 301 Interfaces for Accessing Variables In Effect Object 303 Rendering the Scene 304 Lighting in Shaders 307 Directional Pixel Lighting 308 Directional Pixel Light with Specular 309 Point Pixel Lighting 310 Point Pixel Lighting with Specular 312 Spot Pixel Lighting 312 xvi Contents Hemisphere Pixel Lighting 313 10.4 Texture Mapping ---------- 314 Creating Views 314 Creating Input Layout 316 Render-to-texture Funetion 317 Texture Mapping in Shaders 319 Simple Texture Mapping 320 Multi-Texture Mapping 321 Texture and Lighting 321 Texture Animation 322 Light Mapping 323 Bump Mapping 323 10.5 Simu1ating Fixed Functiona1 Fog ---------- 325 Linear Fog 325 Exponential Fog 326 Square Exponential Fog 326 10.6 Cube Mapping ----------- 326 Creating Geometry 327 Creating Resourees far Cube Mapping 327 Rendering the Seene 329 Rendering to Cube Map in Shaders 330 Cube Mapping in Shaders 331 Cube Mapping with Refraetion 332 Cube mapping with Separated Refraction 334 Chapter 11 Advanced Topics 11.1 Introduction -- 335 11.2 Graphics Libraries -- 336 11.3 Visualization -- 336 Interaetive Visualization and Computational Steering 336 Data Visualization: Dimensions and Data Types 337 Parallel Coordinates 339 11.4 Modeling and Rendering -------------- 340 Contents xvii Curves and Surfaces 341 Sweep Representations 341 Ins tances 341 Constructive Solid Geometry 341 Procedural Models 342 Fractals 342 Partic1e systems 342 Image-based Modeling and Rendering 344 11.5 Animation andSimulation -- - 345 Physics-Based Modeling and Simulation: Triangular Polyhedra 346 Real-time Animation and Simulation: a Spider Web 348 The Efficiency of Modeling and Simulation 351 11.6 Virtual Reality 352 11.7 Graphics on the Internet: Web3D 354 Virtual Reality Modeling Language (VRML) 354 Java3D 354 Chapter 12 Low-Level Graphics Libraries 12.1 Introduction 355 12.2 OpenGL and Mesa -- --- - - - - - ------ 355 12.3 Direct3D/DirectX -- - - ------- -- - - - - 356 12.4 PHIGS and GKS-3D - --- - --- ------ 356 12.5 QuickDraw3D andXGL ------ - - - - - - 356 Chapter 13 Visualization 13.1 Introduction 357 13.2 Multipurpose Visualization Tools 358 13.3 Volume Rendering 358 xviii Contents 13.4 Vector Field and Fluid Flow ----------- - 359 13.5 Large Data Sets ----------------- - 359 Chapter 14 Modeling and Rendering 14.1 Modeling ------------ - ------- - 361 14.2 Rendering -------------------- - 361 14.3 Multipurpose Tools: Modeling, Rendering, and Animation 362 Chapter 15 Animation and Simulation 15.1 Animation --------------- - ---- - 365 15.2 Simulation ----------------- - -- - 366 Chapter 16 Virtual Reality 16.1 Virtual Reality ------------------ - 367 Chapter 17 Web3D Tools and Networked Environment 17.1 Web3D ---------------------- 369 17.2 Distributed Interactive Simulation ---- - --- - 369 17.3 Synchronization in a DIS ----------- - - - 370 The Clock Reckoning - Wall Clock Synchronization 371 Contents xix Chapter 18 3D File Formats 18.1 Introduction 373 18.2 3D File Formats 374 18.3 3D Programming Tool Libraries 375 18.4 3D Authoring Tools 375 18.5 3D File Format Converters 375 Built-In and Plug-In VRML Exporters 376 Independent 3D File Format Converters 376 AppendixA Basic Mathematics for 3D Computer Graphics 377 A.1 Vector Operations ------------------ 377 The Length and Direction 377 Addition and Subtraction 378 Dot Product and Cross Product 379 Reflection 380 A.2 Matrix Operations ------------------ 381 Transpose 381 Addition and Subtraction 382 Multiplications 382 Square Matrix and Inverse 384 AppendixB Graphics Software Tools 387 B.1 Graphics Tools Listed by Categories --------- 387 Low-level Graphics Libraries 387 Visualization Tools 388 Modeling Tools 389 XX Contents Rendering Tools 393 Animation Tools 395 Simulation Tools 397 Virtual Reality Tools 398 Web 3D Tools 399 3D File Format Converters 400 8.2 Alphabetical Listing andDescription ofGraphics Tools 401 20-sim 401 3DCANVAS 401 3D Choreographer 402 3D Grapher 402 3D INSTANT WEBSITE 403 3DSOM Pro 403 3D STUDIO MAX 404 3D Studio VIZ 404 3D Text Maker 405 3D
Recommended publications
  • Unit 31: Computer Animation
    Unit 31: Computer Animation Unit code: D/601/7658 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose The aim of this unit is to ensure learners understand types of animation and their uses and develop the knowledge and skills required to use software techniques to design and implement different types of animation. Unit introduction Computer animation is the art of creating moving images through the use of computers. It brings together computer graphics and animation techniques. Animation does not require computers, however the increasing ability of computers to create and manipulate sets of images has allowed basic animation to reach new levels of sophistication and realism. To create the illusion of movement, a sequence of images is displayed over time and the human eye perceives this sequence as continual movement. The technique is at the heart of all existing technologies such as television and motion pictures. It is increasingly created by means of 3D computer graphics, although 2D computer graphics are still widely used for low bandwidth and faster real-time needs. Only 2D graphics are required in this unit. Animation has become a prominent feature of the worldwide web and is used to create interest and attract attention. In this area, however, there are other factors that need to be taken into account when designing and building applications, such as the nature of the display device and the bandwidth of the connection. As with all computer applications learners must first identify the need, specific requirements and constraints before building the solution. Learners will start by looking at different types of animation and their uses and formats.
    [Show full text]
  • 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.
    [Show full text]
  • CMSC427 Computer Graphics
    CMSC427 Computer Graphics Matthias Zwicker Fall 2018 Staff Instructor • Matthias Zwicker ([email protected], https://cs.umd.edu/~zwicker) Teaching assistant • Yue Jiang ([email protected]) 2 Today • Course overview • Course organization • Vectors and coordinate systems 3 Computer graphics applications 4 Computer graphics • „Technology to create images using computers“ • This course: underlying algorithms for interactive applications – AR, VR, games, scientific visualization, etc. • Core areas – 3D rendering – Modeling – Animation 5 Rendering • Synthesis of 2D image from 3D scene description http://en.wikipedia.org/wiki/Rendering_(computer_graphics) – Rendering algorithms interpret data structures that represent scenes using geometric primitives, material properties, and lights • Input – Data structures that represent scene (geometry, material properties, lights, virtual camera) • Output – 2D image (array of pixels) – Red, green, blue values for each pixel 6 Photorealistic rendering See also http://en.wikipedia.org/wiki/Rendering_(computer_graphics) 7 Photorealistic rendering • Physically-based simulation of light, materials, and camera – Physical model expressed using the rendering equation, http://en.wikipedia.org/wiki/Rendering_equation – Shadows, realistic illumination, multiple light bounces • Slow, minutes to hours per image • Special effects, movies • Not in this class 8 Interactive rendering 9 Interactive rendering • Focus of this class • Produce images within milliseconds • Interactive applications (games, …) • Using specialized
    [Show full text]
  • 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.
    [Show full text]
  • Visualization Tools and Trends a Resource Tour the Obligatory Disclaimer
    Visualization Tools and Trends A resource tour The obligatory disclaimer This presentation is provided as part of a discussion on transportation visualization resources. The Atlanta Regional Commission (ARC) does not endorse nor profit, in whole or in part, from any product or service offered or promoted by any of the commercial interests whose products appear herein. No funding or sponsorship, in whole or in part, has been provided in return for displaying these products. The products are listed herein at the sole discretion of the presenter and are principally oriented toward transportation practitioners as well as graphics and media professionals. The ARC disclaims and waives any responsibility, in whole or in part, for any products, services or merchandise offered by the aforementioned commercial interests or any of their associated parties or entities. You should evaluate your own individual requirements against available resources when establishing your own preferred methods of visualization. What is Visualization • As described on Wikipedia • Illustration • Information Graphics – visual representations of information data or knowledge • Mental Image – imagination • Spatial Visualization – ability to mentally manipulate 2dimensional and 3dimensional figures • Computer Graphics • Interactive Imaging • Music visual IEEE on Visualization “Traditionally the tool of the statistician and engineer, information visualization has increasingly become a powerful new medium for artists and designers as well. Owing in part to the mainstreaming
    [Show full text]
  • 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.
    [Show full text]
  • Metadefender Core V4.12.2
    MetaDefender Core v4.12.2 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2.
    [Show full text]
  • Metadefender Core V4.13.1
    MetaDefender Core v4.13.1 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2.
    [Show full text]
  • Jack's Poser Pro Manual Last Update: 2021 09 17
    Jack's Poser Pro Manual Last Update: 2021 09 17 Note 1: This Manual has been prepared for my own use. If you find it useful, great. However, don't be surprised (or angry with me) if I have failed to update something that has changed from one version of Poser to the next and which I haven't discovered yet. Or if I have failed to understand and so incorrectly describe something. If I discover (or have pointed out to me) that something in this Manual doesn't work as I described, I'll see about updating my text. Note 2: I installed Poser 12 on 30 November 2020. I have no idea if anything in this Manual has changed in Poser 12. I will make necessary changes as I find them. I began using Poser Pro 2012 on about 2013 01 07. This file was started soon after doing a bit of experimenting and finding that I had no tutorial. So here are the results from experimenting, reading Poser Pro 2012 Reference Manual, Poser Pro 2014 Reference Manual, Poser Pro 11 Reference Manual, Smith Micro Tech Support, and internet research. I also have Practical Poser 8. The Official Guide, by Richard Schrand, even though Poser 8 would seem to be several iterations behind Poser Pro 2014, and even farther behind Poser Pro 11 which I started using in December 2015, or Poser 12 as noted above. Most of the information in this Manual is based on my experiences with Poser Pro 2012 and 2014, and probably still holds true for Poser Pro 11 or Poser 12 versions.
    [Show full text]
  • Lightwave Software
    Lightwave software click here to download LightWave fits seamlessly into large multi-software pipelines - with its powerful interchange tools including FBX, ZBrush GoZ, Collada, Unity Game Engine. Create that next killer plugin, or augment your own workflows with the LightWave SDK and scripting resources. The LightWave 3D Software Development Kit. ChronoSculpt Trial. Time-Based Cache Sculpting for All 3D Software Pipelines. Want to try before you buy? Download the full version of ChronoSculpt and use it. LightWave 3D is a 3D computer graphics software developed by NewTek. It has been used in film, television, motion graphics, digital matte painting, visual ​Overview · ​History · ​Movies that LightWave · ​TV Series and miniseries. This is NewTek LightWave. Modeling, animation and rendering tools that bring out the artist in you—not the technician. The LightWave interface is intuitive, with. CGI & VFX Software Showreels HD: "LightWave 3D " - Duration: The CGBros 37, views · 3. Newtek Lightwave ShowReel. Computer graphics software. on Film/Game/Animation Studios, CG. Check out the latest showreel from the LightWave 3D Group, which consists of some of the best LightWave. MARKET: Lightwave is a popular and easy to use choice that is widely used for video and television production around the world. KEY FEATURES: Lightwave. Some things are unique, others are shared among all software packages. Evaluate before you buy. If you are working on big teams for big movies, Lightwave. LightWave is a software application dedicated to creative design that offers great possibilities to improve this kind of work. Its great speed and flexibility when. If You Want To Master The High End Features Of Lightwave , Such As Rigging, Fluids, Collisions, Fur, Flocking, Dynamic Hair And Clothing, Then The.
    [Show full text]
  • 3D World - the Magazine for 3D Artists
    3D World - The Magazine For 3D Artists http://www.3dworldmag.com/page/3dworld?entry=3d_world_115_now_on SEARCH « Autodesk release Softimag... | Weblog | E-on call for showreel su... » CALENDAR « March 2009 » Monday March 02, 2009 Sun Mon Tue W ed Thu Fri Sat 1 2 3 4 5 6 7 - In Category - 3D World 115 now on sale in the UK 8 9 10 11 12 13 14 Search 15 16 17 18 19 20 21 In our latest issue: complete character workshop, pitch your 3D 22 23 24 25 26 27 28 project, comping tips and particle tricks, plus models and assets 29 30 31 CATEGORIES worth $326 on the CD Today LATEST ISSUE Click the thumbnail to order your copy online IN THE MAGAZINE Character workshop Master key sculpting and texturing techniques to recreate our cover star Modelling: follow videos of the full workflow to build every detail of your figure Texturing: apply a blend of painted textures and carefully chosen NEWS FEEDS shaders The perfect composite LINKS Whether you‘re adding digital creatures to footage or just trying to match two images, compositing is a vital part of VFX work. Brush up your skills with 20 expert tips Particle tricks Master dissolve effects in Blender with Andy Goralczyk Signed on the spot! Experts from across the 3D industry reveal the tricks of the trade that can make all the difference when pitching a project to an agency, potential backer, broadcaster or movie studio The making of Coraline For the animated version of Neil Gaiman‘s Gothic novella Coraline, Laika used CG and digital printing to create 15,000 separate face 1 of 3 4/12/2009 12:37 AM 3D
    [Show full text]
  • 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.
    [Show full text]