DOCSLIB.ORG

3D Computer Graphics and Modeling

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3D Computer Graphics and Modeling Information Technology Program 3D Computer Graphics and Modeling Introduction Use professional software and techniques Minor Requirements Specialization Requirements to create 3D models of buildings, vehicles, products, characters, and more. By the end of this minor, you will MiniMuM units: 16 MiniMuM seMesters: 4 MiniMuM units: 10 MiniMuM seMesters: 2 have a portfolio of work commensurate with the needs of Complete the following (13 units) Complete the following (4 units) 3D industries. Course Title Units check Course Title Units check ITP-215 3D Modeling, Animation, and Special 2 ITP-215 3D Modeling, Animation, and Special 2 briefcase code-branch Effects Effects Careers Skills ITP-305 Advanced 3D Modeling, Animation, 3 ITP-415 3D Design and Prototyping* 2 Technical Artist 3D modeling and Special Effects* Choose from the following electives (6 units) Animator Animation ITP-315 3D Character Animation* 3 Character Artist Surfacing ITP-305 Advanced 3D Modeling, Animation, 3 ITP-360 3D Compositing and Visual Effects* 3 3D Visualization Artist Special effects and Special Effects* 3D Modeler ITP-415 3D Design and Prototyping* 2 ITP-315 3D Character Animation* 3 Choose from the following electives (3 units) ITP-360 3D Compositing and Visual Effects* 3 Good to know Workers with skills in 3D modeling ITP-308 Computer-Aided Design for 3 ITP-450 Advanced 3D Texturing, Compositing, 3 can find jobs in film, video games, architectural design, Bio-Mechanical Systems and Image Processing* healthcare, archaeology, and research. ITP-450 Advanced 3D Texturing, Compositing, 3 and Image Processing* Related programs Connected Devices and Making, Video Game Design and Management, Video Game ITP-470 Information Technology Practicum 1-4 Programming ITP-480 Information Technology Internship 1-4 Selecting courses An asterisk (*) next to a course name means that the course has a prerequisite. prograM requireMents How to declare In order to officially declare one Minor policies of our minors or specializations, please schedule an • You must be an undergraduate student at USC in order appointment to meet with a member of our advisement to declare a minor. team. During your appointment, you’ll discuss the program requirements, create a course plan, and have the • You must have a declared major in order to declare a chance to ask any questions you may have. There is not an minor. application, but you must be in good academic standing. • Each minor at USC requires that at least 16 units be 3D Computer Graphics and Modeling unique to the minor and not count toward any other Curriculum and course offerings Based on the requirement, including GE, major, or another minor. availability of faculty, students and classroom space, we • All courses completed for a minor must be completed Applied Analytics are able to offer a wide selection of courses every fall and for a letter grade. spring semester. However, we are not always able to offer • A minimum cumulative 2.0 GPA must be achieved in the every course. If you are registering for your final semester courses applied toward the minor requirements. Applied Computer Security and the course you need to graduate isn’t offered, please contact our advisement team. Additionally, if there are • Your minor will appear on your STARS report and your any future changes to the curriculum on this document, official transcript. Computer and Digital Forensics students will be provided the option to follow: (a) the • Students who successfully complete a minor will degree requirements in the catalogue current in their first receive a certificate upon graduation. term of enrollment after admission or readmission at USC Connected Devices and Making or (b) degree requirements in a subsequent catalogue Specialization policies as long as they were enrolled in a term in which it was in effect. • Specializations are available to undergraduate students, Computer Programming graduate students, and guests enrolled on a limited status basis. about itp • Undergraduate students must have a declared major in Innovation: The Digital Entrepreneur order to declare a specialization. We offer a challenging, state-of-the-art education for those interested in learning about the dynamic and • All courses completed for a specialization must be Enterprise Information Systems growing field of information technology (IT) — which completed for a letter grade. includes computers, mobile apps, data analytics, smart • A minimum cumulative 2.0 GPA must be achieved in the devices, cyber security, and more. courses applied toward the specialization requirements. Mobile App Development • Specializations do not appear on STARS reports or Our classes offer students practical, hands-on experience official transcripts. with the latest tools, programming languages, and • Students who successfully complete a specialization Video Game Design and Management applications. will receive a certificate upon completion. Video Game Programming ContaCt inforMation Web Technologies and Applications phone (213) 740-4542 map-marker-alt OHE 412 globe https://itp.usc.edu/ envelope [email protected] Last updated October 2, 2018.
Load more

Recommended publications
  • 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]
  • Simulating Humans: Computer Graphics, Animation, and Control
    University of Pennsylvania ScholarlyCommons Center for Human Modeling and Simulation Department of Computer & Information Science 6-1-1993 Simulating Humans: Computer Graphics, Animation, and Control Bonnie L. Webber University of Pennsylvania, [email protected] Cary B. Phillips University of Pennsylvania Norman I. Badler University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hms Recommended Citation Webber, B. L., Phillips, C. B., & Badler, N. I. (1993). Simulating Humans: Computer Graphics, Animation, and Control. Retrieved from https://repository.upenn.edu/hms/68 Reprinted with Permission by Oxford University Press. Reprinted from Simulating humans: computer graphics animation and control, Norman I. Badler, Cary B. Phillips, and Bonnie L. Webber (New York: Oxford University Press, 1993), 283 pages. Author URL: http://www.cis.upenn.edu/~badler/book/book.html This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hms/68 For more information, please contact [email protected]. Simulating Humans: Computer Graphics, Animation, and Control Abstract People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it.
    [Show full text]
  • Introduction to Computer Graphics and Animation
    NATIONAL OPEN UNIVERSITY OF NIGERIA COURSE CODE :CIT 371 COURSE TITLE: INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION 1 2 COURSE GUIDE CIT 371 INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION Course Team Mr. F. E. Ekpenyong (Writer) – NDA Course Editor Programme Leader Course Coordinator 3 NATIONAL OPEN UNIVERSITY OF NIGERIA National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office No. 5 Dar es Salaam Street Off Aminu Kano Crescent Wuse II, Abuja Nigeria e-mail: [email protected] URL: www.nou.edu.ng Published By: National Open University of Nigeria Printed 2009 ISBN: All Rights Reserved 4 CONTENTS PAGE Introduction………………………………………………………… 1 What you will Learn in this Course…………………………………. 1 Course Aims… … … … … … … … 4 Course Objectives……….… … … … … … 4 Working through this Course… … … … … … 5 The Course Material… … … … … … 5 Study Units… … … … … … … 6 Presentation Schedule… … … … … … … 7 Assessments… … … … … … … … 7 Tutor Marked Assignment… … … … … … 7 Final Examination and Grading… … … … … … 8 Course Marking Scheme… … … … … … … 8 Facilitators/Tutors and Tutorials… … … … … 9 Summary… … … … … … … … … 9 5 Introduction Computer graphics is concerned with producing images and animations (or sequences of images) using a computer. This includes the hardware and software systems used to make these images. The task of producing photo-realistic images is an extremely complex one, but this is a field that is in great demand because of the nearly limitless variety of applications. The field of computer graphics has grown enormously over the past 10–20 years, and many software systems have been developed for generating computer graphics of various sorts. This can include systems for producing 3-dimensional models of the scene to be drawn, the rendering software for drawing the images, and the associated user- interface software and hardware.
    [Show full text]
  • Introduction Week 1, Lecture 1
    CS 430 Computer Graphics Introduction Week 1, Lecture 1 David Breen, William Regli and Maxim Peysakhov Department of Computer Science Drexel University 1 Overview • Course Policies/Issues • Brief History of Computer Graphics • The Field of Computer Graphics: A view from 66,000ft • Structure of this course • Homework overview • Introduction and discussion of homework #1 2 Computer Graphics I: Course Goals • Provide introduction to fundamentals of 2D and 3D computer graphics – Representation (lines/curves/surfaces) – Drawing, clipping, transformations and viewing – Implementation of a basic graphics system • draw lines using Postscript • simple frame buffer with PBM & PPM format • ties together 3D projection and 2D drawing 3 Interactive Computer Graphics CS 432 • Learn and program WebGL • Computer Graphics was a pre-requisite – Not anymore • Looks at graphics “one level up” from CS 430 • Useful for Games classes • Part of the HCI and Game Development & Design tracks? 5 Advanced Rendering Techniques (Advanced Computer Graphics) • Might be offered in the Spring term • 3D Computer Graphics • CS 430/536 is a pre-requisite • Implement Ray Tracing algorithm • Lighting, rendering, photorealism • Study Radiosity and Photon Mapping 7 ART Student Images 8 Computer Graphics I: Technical Material • Course coverage – Mathematical preliminaries – 2D lines and curves – Geometric transformations – Line and polygon drawing – 3D viewing, 3D curves and surfaces – Splines, B-Splines and NURBS – Solid Modeling – Color, hidden surface removal, Z-buffering 9
    [Show full text]
  • Audiovisual Spatial Congruence, and Applications to 3D Sound and Stereoscopic Video
    Audiovisual spatial congruence, and applications to 3D sound and stereoscopic video. C´edricR. Andr´e Department of Electrical Engineering and Computer Science Faculty of Applied Sciences University of Li`ege,Belgium Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) in Engineering Sciences December 2013 This page intentionally left blank. ©University of Li`ege,Belgium This page intentionally left blank. Abstract While 3D cinema is becoming increasingly established, little effort has fo- cused on the general problem of producing a 3D sound scene spatially coher- ent with the visual content of a stereoscopic-3D (s-3D) movie. The percep- tual relevance of such spatial audiovisual coherence is of significant interest. In this thesis, we investigate the possibility of adding spatially accurate sound rendering to regular s-3D cinema. Our goal is to provide a perceptually matched sound source at the position of every object producing sound in the visual scene. We examine and contribute to the understanding of the usefulness and the feasibility of this combination. By usefulness, we mean that the technology should positively contribute to the experience, and in particular to the storytelling. In order to carry out experiments proving the usefulness, it is necessary to have an appropriate s-3D movie and its corresponding 3D audio soundtrack. We first present the procedure followed to obtain this joint 3D video and audio content from an existing animated s-3D movie, problems encountered, and some of the solutions employed. Second, as s-3D cinema aims at providing the spectator with a strong impression of being part of the movie (sense of presence), we investigate the impact of the spatial rendering quality of the soundtrack on the reported sense of presence.
    [Show full text]
  • The Palgrave Handbook of Screen Production
    The Palgrave Handbook of Screen Production Edited by Craig Batty · Marsha Berry · Kath Dooley Bettina Frankham · Susan Kerrigan The Palgrave Handbook of Screen Production Craig Batty • Marsha Berry Kath Dooley • Bettina Frankham Susan Kerrigan Editors The Palgrave Handbook of Screen Production Editors Craig Batty Marsha Berry University of Technology Sydney RMIT University Sydney, NSW, Australia Melbourne, VIC, Australia Kath Dooley Bettina Frankham Curtin University University of Technology Sydney Bentley, WA, Australia Sydney, NSW, Australia Susan Kerrigan University of Newcastle Callaghan, NSW, Australia ISBN 978-3-030-21743-3 ISBN 978-3-030-21744-0 (eBook) https://doi.org/10.1007/978-3-030-21744-0 © The Editor(s) (if applicable) and The Author(s) 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprint- ing, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, com- puter software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
    [Show full text]
  • Computer Animation in an Intuitive Way
    An Interactive method to control Computer Animation in an intuitive way. Andrea Piscitello Ettore Trainiti University of Illinois at Chicago University of Illinois at Chicago 1200 W Harrison St, Chicago, IL 1200 W Harrison St, Chicago, IL [email protected] [email protected] ABSTRACT keyframe by defining the position of each vertex, may result Human Computer Interaction is a rising field of computer in very tedious task to perform. For this reason, skeletal an- science and perfectly fits among Computer Graphics scopes. imation is often preferred. This method is composed of two The video-game industry is focusing on this field in order phases: rigging and animation. Rigging consists in defining to provide always more realistic and engaging game expe- a skeleton made of bones. Parts of the mesh are associated riences. The bond between animation and user movement to each of these bones in order to define which bone is re- seems to be destinated to be closer in future. sponsible of deforming a part of the object. The animation is then designed by defining the position of each bone in each Author Keywords keyframe and interpolating the inbetweens. For big produc- Keyframing, Rigging, Mophing, Warping, Blending. tions like movies and videogames, the animation design is executed by means of more powerful techniques like for in- INTRODUCTION stance motion capture. Motion Capture is a technique, which Computer Animation is the process of generating animated takes advantage of special suits that actors dress and that cap- images in computer graphics scenes. It is one of the most an- ture every movement they do.
    [Show full text]
  • Group Simulation of Three Agents Using Unity3d Vincent Wong Max Turpeinen [email protected] [email protected]
    Bachelor’s Project in simulation and virtual design KTH Royal Institute of Technology Group Simulation of Three Agents using Unity3D Vincent Wong Max Turpeinen [email protected] [email protected] KTH Royal Institute of Technology | Supervisor: Christopher Peters Link to our blog: http://www.crowdsimulationkth.blogspot.se/ Figure 1: Screen captures from our scene with the latest implementation of our model. Abstract Crowd simulation refers to simulating a large number of agents trying to replicate collective behavior in 3D computer graphics. For this, we have been using the game engine Unity 3D. In our work we are mainly focusing on group formations consisting of 3 agents. Each group is assigned a leader which keeps track of formations and evading collisions. The groups can take on four different formations, working like a finite state machine. In our general scenario, two groups could face, making it useful to adapt the formations and movement direction to avoid each other. We have been implementing our own model after having looked at different major concept already existing in the world of crowd simulation. You could define our model as a hybrid rule-based one, seeing that we have a smaller group working in a way like a single entity, making its judgment dependent on checks with corresponding rules. Virtual cinematography reflecting for most parts real human behavior in one or several 1. Introduction groups interacting. The major industry lays in Crowd simulation is all about simulating a making films and games using 3D computer large number of entities, also known as agents graphics but is also used for public safety as a greater group, instead of individuals.
    [Show full text]
  • Introduction to 3D Animaton
    INTRODUCTION TO COMPUTER ANIMATON WHAT IS 3D ANIMATION Animating objects that appear in a three-dimensional space. They can be rotated and moved like real objects. 3D animation is at the heart of games and virtual reality, but it may also be used in presentation graphics to add flair to the visuals. HISTORY OF COMPUTER ANIMATION computer animation began as early as the 1940s and 1950s, when people began to experiment with computer graphics - most notably by John Whiteny. It was only by the early 1960s when digital computers had become widely established, that new avenues for innovative computer graphics blossomed. Initially, uses were mainly for scientific, engineering and other research purposes, but artistic experimentation began to make its appearance by the mid-1960s. By the mid-1970s, many such efforts were beginning to enter into public media. Much computer graphics at this time involved 2D imagery, though increasingly, as computer power improved, efforts to achieve 3- dimensional realism became the emphasis. By the late 1980s, photo- realistic 3D was beginning to appear in film movies, and by mid-1990s had developed to the point where 3D animation could be used for entire feature film production. Important areas where animation is extensively used. Film Education Entertainment Advertisement Marketing In Scientific Visualization Creative Arts Gaming Simulations Medical Film A computer-animated film is a feature film that has been computer animated to appear three dimensional . While traditional 2d animated films are now made primarily with the help of computers, the technique to render realistic 3D computer graphics (CG) or 3D computer generated imagery (CGI), is unique to computers.
    [Show full text]
  • 3D Computer Graphics Compiled By: H
    animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between
    [Show full text]
  • CGI Training for the Entertainment Film Industry
    Computer Graphics in Entertainment CGI Training for the Entertainment Jacquelyn Ford Morie Film Industry Blue Sky|VIFX onsider a snapshot from 1996: A bright technology. The company’s animation division isn’t inter- Cyoung woman has just earned a degree ested in computer animation and the exchange does not from a prestigious art college, majoring in computer work out. The graduate student—Ed Catmull—goes on animation (a program her school started four years to found a premier computer animation company.1 ago). She is looking for her first job. An excellent stu- dent artist, top in her class, she does not know how to A bit of history program. She is being courted by all the major West The above scenarios illustrate actual examples of peo- Coast studios and has retained an attorney to get her ple trying to get computer graphics jobs in the enter- the best possible deal (among other things, a starting tainment industry. You may recognize yourself among salary in the $60,000 range). them, depending on when you started in computer Cut back to 1990, just six years graphics. Barely three decades old, the computer graph- earlier: A recent graduate is trying to ics field has been through enormous changes. As the digital film industry find a job. He studied computer Possibilities and experimentation have evolved into graphics as an art student and creat- commonly used and widely accepted tools to create matures, the education ed some respectable short anima- effects, images, and characters for films. The education tions. He took a class in general needed to succeed in the digital entertainment indus- needed to become part of it programming but not graphics pro- try has also changed.
    [Show full text]
  • A /Thesis Supervisor
    Extracting 3D Motion from Hand-Drawn Animated Figures by Walter Roberts Sabiston Bachelor of Science Massachusetts Institute of Technology 1989 Submitted to the Media Arts and Sciences Section, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies at the Massachusetts Institute of Technology June 1991 @ Massachusetts Institute of Technology 1991 All Rights Reserved Signature of the Author Walter Roberts Sabiston Media A Certified by SMuri Coopr Professor of Visual Studies A /Thesis Supervisor Accepted by Stephen A. Benton Chairperson Departmental Committee on Graduate Student Rotch MASSACHUSETTS INSTITUTE OF TECHN' GY JUL 2 3 1991 Extracting 3D Motion from Hand-Drawn Animated Figures by Walter Roberts Sabiston Submitted to the Media Arts and Sciences Section, School of Architecture and Planning, on May 10, 1991 in partial fulfillment of the requirements of the degree of Master of Science in Visual Studies at the Massachusetts Institute of Technology Abstract This thesis describes a 3D computer graphic animation system for use by traditional character animators. Existing computer animation systems hinder expression; they require the artist to manipulate rigid 3D models within complex object hierarchies. A system has been developed that gives animators a familiar means of specifying motion--the 2D thumbnail sketch. Using a simple "flipbook" analogy, the user can quickly rough out a character's motion with hand-drawn stick-figures. Information from the thumbnail sketches is transferred to the user's 3D model by interactively positioning the model's 2D projection. By calculating the amount of foreshortening on hand-drawn limbs, the system is able to determine joint angles for the 3D figure.
    [Show full text]