5 Opengl Programming in Java: JOGL
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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. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
3D Visualization of Weather Radar Data Examensarbete Utfört I Datorgrafik Av
3D Visualization of Weather Radar Data Examensarbete utfört i datorgrafik av Aron Ernvik lith-isy-ex-3252-2002 januari 2002 3D Visualization of Weather Radar Data Thesis project in computer graphics at Linköping University by Aron Ernvik lith-isy-ex-3252-2002 Examiner: Ingemar Ragnemalm Linköping, January 2002 Avdelning, Institution Datum Division, Department Date 2002-01-15 Institutionen för Systemteknik 581 83 LINKÖPING Språk Rapporttyp ISBN Language Report category Svenska/Swedish Licentiatavhandling ISRN LITH-ISY-EX-3252-2002 X Engelska/English X Examensarbete C-uppsats Serietitel och serienummer ISSN D-uppsats Title of series, numbering Övrig rapport ____ URL för elektronisk version http://www.ep.liu.se/exjobb/isy/2002/3252/ Titel Tredimensionell visualisering av väderradardata Title 3D visualization of weather radar data Författare Aron Ernvik Author Sammanfattning Abstract There are 12 weather radars operated jointly by SMHI and the Swedish Armed Forces in Sweden. Data from them are used for short term forecasting and analysis. The traditional way of viewing data from the radars is in 2D images, even though 3D polar volumes are delivered from the radars. The purpose of this work is to develop an application for 3D viewing of weather radar data. There are basically three approaches to visualization of volumetric data, such as radar data: slicing with cross-sectional planes, surface extraction, and volume rendering. The application developed during this project supports variations on all three approaches. Different objects, e.g. horizontal and vertical planes, isosurfaces, or volume rendering objects, can be added to a 3D scene and viewed simultaneously from any angle. Parameters of the objects can be set using a graphical user interface and a few different plots can be generated. -
Opengl 4.0 Shading Language Cookbook
OpenGL 4.0 Shading Language Cookbook Over 60 highly focused, practical recipes to maximize your use of the OpenGL Shading Language David Wolff BIRMINGHAM - MUMBAI OpenGL 4.0 Shading Language Cookbook Copyright © 2011 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First published: July 2011 Production Reference: 1180711 Published by Packt Publishing Ltd. 32 Lincoln Road Olton Birmingham, B27 6PA, UK. ISBN 978-1-849514-76-7 www.packtpub.com Cover Image by Fillipo ([email protected]) Credits Author Project Coordinator David Wolff Srimoyee Ghoshal Reviewers Proofreader Martin Christen Bernadette Watkins Nicolas Delalondre Indexer Markus Pabst Hemangini Bari Brandon Whitley Graphics Acquisition Editor Nilesh Mohite Usha Iyer Valentina J. D’silva Development Editor Production Coordinators Chris Rodrigues Kruthika Bangera Technical Editors Adline Swetha Jesuthas Kavita Iyer Cover Work Azharuddin Sheikh Kruthika Bangera Copy Editor Neha Shetty About the Author David Wolff is an associate professor in the Computer Science and Computer Engineering Department at Pacific Lutheran University (PLU). -
Phong Shading
Computer Graphics Shading Based on slides by Dianna Xu, Bryn Mawr College Image Synthesis and Shading Perception of 3D Objects • Displays almost always 2 dimensional. • Depth cues needed to restore the third dimension. • Need to portray planar, curved, textured, translucent, etc. surfaces. • Model light and shadow. Depth Cues Eliminate hidden parts (lines or surfaces) Front? “Wire-frame” Back? Convex? “Opaque Object” Concave? Why we need shading • Suppose we build a model of a sphere using many polygons and color it with glColor. We get something like • But we want Shading implies Curvature Shading Motivation • Originated in trying to give polygonal models the appearance of smooth curvature. • Numerous shading models – Quick and dirty – Physics-based – Specific techniques for particular effects – Non-photorealistic techniques (pen and ink, brushes, etching) Shading • Why does the image of a real sphere look like • Light-material interactions cause each point to have a different color or shade • Need to consider – Light sources – Material properties – Location of viewer – Surface orientation Wireframe: Color, no Substance Substance but no Surfaces Why the Surface Normal is Important Scattering • Light strikes A – Some scattered – Some absorbed • Some of scattered light strikes B – Some scattered – Some absorbed • Some of this scattered light strikes A and so on Rendering Equation • The infinite scattering and absorption of light can be described by the rendering equation – Cannot be solved in general – Ray tracing is a special case for -
Scan Conversion & Shading
3D Rendering Pipeline (for direct illumination) 3D Primitives 3D Modeling Coordinates Modeling TransformationTransformation 3D World Coordinates Scan Conversion LightingLighting 3D World Coordinates ViewingViewing P1 & Shading TransformationTransformation 3D Camera Coordinates ProjectionProjection TransformationTransformation Adam Finkelstein 2D Screen Coordinates P2 Princeton University Clipping 2D Screen Coordinates ViewportViewport COS 426, Spring 2003 TransformationTransformation P3 2D Image Coordinates Scan Conversion ScanScan Conversion & Shading 2D Image Coordinates Image Overview Scan Conversion • Scan conversion • Render an image of a geometric primitive o Figure out which pixels to fill by setting pixel colors • Shading void SetPixel(int x, int y, Color rgba) o Determine a color for each filled pixel • Example: Filling the inside of a triangle P1 P2 P3 Scan Conversion Triangle Scan Conversion • Render an image of a geometric primitive • Properties of a good algorithm by setting pixel colors o Symmetric o Straight edges void SetPixel(int x, int y, Color rgba) o Antialiased edges o No cracks between adjacent primitives • Example: Filling the inside of a triangle o MUST BE FAST! P1 P1 P2 P2 P4 P3 P3 1 Triangle Scan Conversion Simple Algorithm • Properties of a good algorithm • Color all pixels inside triangle Symmetric o void ScanTriangle(Triangle T, Color rgba){ o Straight edges for each pixel P at (x,y){ Antialiased edges if (Inside(T, P)) o SetPixel(x, y, rgba); o No cracks between adjacent primitives } } o MUST BE FAST! P P1 -
Evaluation of Image Quality Using Neural Networks
R. CANT et al: EVALUATION OF IMAGE QUALITY EVALUATION OF IMAGE QUALITY USING NEURAL NETWORKS R.J. CANT AND A.R. COOK Simulation and Modelling Group, Department of Computing, The Nottingham Trent University, Burton Street, Nottingham NG1 4BU, UK. Tel: +44-115-848 2613. Fax: +44-115-9486518. E-mail: [email protected]. ABSTRACT correspondence between human and neural network seems to depend on the level of expertise of the human subject. We discuss the use of neural networks as an evaluation tool for the graphical algorithms to be used in training simulator visual systems. The neural network used is of a type developed by the authors and is The results of a number of trial evaluation studies are presented in described in detail in [Cant and Cook, 1995]. It is a three-layer, feed- summary form, including the ‘calibration’ exercises that have been forward network customised to allow both unsupervised competitive performed using human subjects. learning and supervised back-propagation training. It has been found that in some cases the results of competitive learning alone show a INTRODUCTION better correspondence with human performance than those of back- propagation. The problem here is that the back-propagation results are too good. Training simulators, such as those employed in vehicle and aircraft simulation, have been used for an ever-widening range of applications The following areas of investigation are presented here: resolution and in recent years. Visual displays form a major part of virtually all of sampling, shading algorithms, texture anti-aliasing techniques, and these systems, most of which are used to simulate normal optical views, model complexity. -
Synthesizing Realistic Facial Expressions from Photographs Z
Synthesizing Realistic Facial Expressions from Photographs z Fred eric Pighin Jamie Hecker Dani Lischinski y Richard Szeliski David H. Salesin z University of Washington y The Hebrew University Microsoft Research Abstract The applications of facial animation include such diverse ®elds as character animation for ®lms and advertising, computer games [19], We present new techniques for creating photorealistic textured 3D video teleconferencing [7], user-interface agents and avatars [44], facial models from photographs of a human subject, and for creat- and facial surgery planning [23, 45]. Yet no perfectly realistic facial ing smooth transitions between different facial expressions by mor- animation has ever been generated by computer: no ªfacial anima- phing between these different models. Starting from several uncali- tion Turing testº has ever been passed. brated views of a human subject, we employ a user-assisted tech- There are several factors that make realistic facial animation so elu- nique to recover the camera poses corresponding to the views as sive. First, the human face is an extremely complex geometric form. well as the 3D coordinates of a sparse set of chosen locations on the For example, the human face models used in Pixar's Toy Story had subject's face. A scattered data interpolation technique is then used several thousand control points each [10]. Moreover, the face ex- to deform a generic face mesh to ®t the particular geometry of the hibits countless tiny creases and wrinkles, as well as subtle varia- subject's face. Having recovered the camera poses and the facial ge- tions in color and texture Ð all of which are crucial for our compre- ometry, we extract from the input images one or more texture maps hension and appreciation of facial expressions. -
Rotobot Openfx Plugin Documentation Release 1.4.0 Sam
Rotobot OpenFX Plugin Documentation Release 1.4.0 Sam Hodge May 30, 2020 Contents: 1 Frequenty Asked Questions (FAQs)1 1.1 How accurate is Rotobot?........................................1 1.2 Why is it so slow?............................................1 1.3 What is the colour space to get the best detection?...........................1 1.4 Why does my 5K image take so long?..................................2 1.5 How do I install Rotobot?........................................2 1.6 What is that glitch?............................................2 1.7 How do I install a license?........................................2 2 User Guides 3 2.1 Rotobot Segmentation..........................................3 2.2 Rotobot Instance Segmentation.....................................3 2.3 Rotobot Person..............................................3 2.3.1 Input and Output are RGB and RGBA.............................4 2.3.2 Input Colorspace........................................4 2.4 Create a mask using Rotobot Segmentation...............................4 2.5 Isolate and seperate an indivdual using Rotobot Instance Segmentation................5 2.6 Create a soft mask using Trimap.....................................5 3 System Adminstration Docs 7 3.1 Functional description..........................................7 3.1.1 Details of OpenFX Plugins...................................7 3.1.2 Caching of computation....................................8 3.1.3 Details of CUDA compatibility.................................8 3.1.3.1 CUDA Toolkit is installed -
Cutting Planes and Beyond 1 Abstract 2 Introduction
Cutting Planes and Beyond Michael Clifton and Alex Pang Computer Information Sciences Board University of California Santa Cruz CA Abstract We present extensions to the traditional cutting plane that b ecome practical with the availability of virtual reality devices These extensions take advantage of the intuitive ease of use asso ciated with the cutting metaphor Using their hands as the cutting to ol users interact directly with the data to generate arbitrarily oriented planar surfaces linear surfaces and curved surfaces We nd that this typ e of interaction is particularly suited for exploratory scientic visualization where features need to b e quickly identied and precise p ositioning is not required We also do cument our investigation on other intuitive metaphors for use with scientic visualization Keywords curves cutting planes exploratory visualization scientic visualization direct manipulation Intro duction As a visualization to ol virtual reality has shown promise in giving users a less inhibited metho d of observing and interacting with data By placing users in the same environment as the data a b etter sense of shap e motion and spatial relationship can b e conveyed Instead of a static view users are able to determine what they see by navigating the data environment just as they would in a real world environment However in the real world we are not just passive observers When examining and learning ab out a new ob ject we have the ability to manipulate b oth the ob ject itself and our surroundings In some cases the ability -
3D Modeling and the Role of 3D Modeling in Our Life
ISSN 2413-1032 COMPUTER SCIENCE 3D MODELING AND THE ROLE OF 3D MODELING IN OUR LIFE 1Beknazarova Saida Safibullaevna 2Maxammadjonov Maxammadjon Alisher o’g’li 2Ibodullayev Sardor Nasriddin o’g’li 1Uzbekistan, Tashkent, Tashkent University of Informational Technologies, Senior Teacher 2Uzbekistan, Tashkent, Tashkent University of Informational Technologies, student Abstract. In 3D computer graphics, 3D modeling is the process of developing a mathematical representation of any three-dimensional surface of an object (either inanimate or living) via specialized software. The product is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The model can also be physically created using 3D printing devices. Models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting. 3D modeling software is a class of 3D computer graphics software used to produce 3D models. Individual programs of this class are called modeling applications or modelers. Key words: 3D, modeling, programming, unity, 3D programs. Nowadays 3D modeling impacts in every sphere of: computer programming, architecture and so on. Firstly, we will present basic information about 3D modeling. 3D models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created by hand, algorithmically (procedural modeling), or scanned. 3D models are widely used anywhere in 3D graphics. -
An Overview of 3D Data Content, File Formats and Viewers
Technical Report: isda08-002 Image Spatial Data Analysis Group National Center for Supercomputing Applications 1205 W Clark, Urbana, IL 61801 An Overview of 3D Data Content, File Formats and Viewers Kenton McHenry and Peter Bajcsy National Center for Supercomputing Applications University of Illinois at Urbana-Champaign, Urbana, IL {mchenry,pbajcsy}@ncsa.uiuc.edu October 31, 2008 Abstract This report presents an overview of 3D data content, 3D file formats and 3D viewers. It attempts to enumerate the past and current file formats used for storing 3D data and several software packages for viewing 3D data. The report also provides more specific details on a subset of file formats, as well as several pointers to existing 3D data sets. This overview serves as a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D data files. 1 Introduction 3D data represents information in several applications, such as medicine, structural engineering, the automobile industry, and architecture, the military, cultural heritage, and so on [6]. There is a gamut of problems related to 3D data acquisition, representation, storage, retrieval, comparison and rendering due to the lack of standard definitions of 3D data content, data structures in memory and file formats on disk, as well as rendering implementations. We performed an overview of 3D data content, file formats and viewers in order to build a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D files.