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Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet: -
Open Animation Projects
OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12 -
Perceptual Compression for Video Storage and Processing Systems
Perceptual Compression for Video Storage and Processing Systems Amrita Mazumdar Brandon Haynes Magda Balazinska University of Washington University of Washington University of Washington Luis Ceze Alvin Cheung Mark Oskin University of Washington University of California, Berkeley University of Washington ABSTRACT storage production today, and this trend is predicted to acceler- Compressed videos constitute 70% of Internet trafc, and video ate [12, 17, 43]. New domains of video production—e.g., panoramic upload growth rates far outpace compute and storage improvement (360°), stereoscopic, and light feld video for virtual reality (VR)— trends. Past work in leveraging perceptual cues like saliency, i.e., demand higher frame rates and resolutions, as well as increased regions where viewers focus their perceptual attention, reduces dynamic range. Further, the prevalence of mobile devices with compressed video size while maintaining perceptual quality, but high-resolution cameras makes it increasingly easy for humans to requires signifcant changes to video codecs and ignores the data capture and share video. management of this perceptual information. For decades, video codecs have exploited how humans see the In this paper, we propose Vignette, a compression technique and world, for example, by devoting increased dynamic range to spatial storage manager for perception-based video compression in the features (low frequency) or colors (green) we are more likely to ob- cloud. Vignette complements of-the-shelf compression software serve. One such perceptual cue, saliency, describes where in a video and hardware codec implementations. Vignette’s compression tech- frame a user focuses their perceptual attention. As video resolutions nique uses a neural network to predict saliency information used grow, e.g., 360° video and 8K VR displays, the salient regions of a during transcoding, and its storage manager integrates perceptual video shrink to smaller proportion of the video frame [57]. -
Cosmos Laundromat
Cosmos Laundromat Home The Film The Team Sponsors Get Involved Blender Cloud Search Making Of,Production Cosmos Laundromat – First Cycle 10 August, 2015 | 72 Comments | by Ton Roosendaal We’re very proud and happy to share the first 10 minutes of Cosmos Laundromat with you. It’s been more than a year of hard work by many people! Thanks everyone for helping to make it, and thanks to the thousands of supporters and donators for making it possible. Want to see more? Join Blender Cloud and subscribe for just $10 per month, or send us a donation via PayPal to [email protected]. On behalf of everyone on the team, Ton Roosendaal. Share on Twitter 39 Share on Facebook 513 62 2 72 Responses 1. Aaron Carlisle says: 10/08/2015 at 18:25 Amazing really amazing guys and girls can’t wait for more Reply 2. Manuel says: 10/08/2015 at 18:29 Hats off to all of the team! This was outstanding! The quality of the images, the animation, the sound, the smoke, the hair, the composition! A true milestone! I am optimistic this episode ensures the support for the continuation of this fantastic story. :) Reply 3. Lukasz says: 10/08/2015 at 18:36 Open source is getting more and more powerful. Great work, Blender team! Reply 4. Mason Menzies says: 10/08/2015 at 18:37 Do you think i could get the frame for a wallpaper (in the video it’s at 7:50) it’s a fantastic shot. i would love the full res frame of it if that’s ok. -
Univerzita Karlova V Praze DIPLOMOVÁ PRÁCE Petr Köppel
Univerzita Karlova v Praze Filozofická fakulta Ústav informačních studií a knihovnictví DIPLOMOVÁ PRÁCE Petr Köppel Veřejné licence a public domain jako alternativ cop ri!"tu Public licenses and public domain a# alternatives to cop ri!"t Praha 2012 !edoucí práce" M$r. !ít Šisler Prohlašuji, že jsem diplomovou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k z skán jiného nebo stejného titulu! " Praze dne 15. 8. 2012 $bstrakt Práce ne'prve představu'e oblast veře'n*ch licencí 'ako prostor mezi autorsk*m zákonem a sf+rou voln*ch d,l% Pot+ u kate$orií proprietárního softwaru. svobodného a open source softwaru. otevřen+ho hard-aru a otevřeného obsahu postupně mapu'e 'ednotliv+ druh/ veře'n*ch licencí a s nimi spo'ená společenská a kulturní hnutí, dává 'e do vzá'emných a časových souvislostí, rozebírá 'e'ich charakteristick+ r/s/ a porovnává 'e mezi sebou. ukazu'e. 'ak veře'n+ licence definu'í různá s nimi spo'ená hnutí, a také anal/zu'e, 'aké překá1ky u1ití veře'n*ch licencí v 2esk+ republice klade česk+ právo% %líčová #lova 3utorské právo, licence, open source, creative commons, voln+ dílo. software, design. $bstract 4he -ork first introduces the area of public licenses as a space between the copyri$ht la- and public domain. 3fter that, consecutivel/ for proprietar/ software. free and open source software. open hard-are and open content, it maps particular types of public licenses and the accompanyin$ social and cultural movements. puts them in mutual as -ell as historical context, examines their characteristics and compares them to each other. -
Open Source Film a Model for Our Future?
Medientechnik First Bachelor Thesis Open Source Film A model for our future? Completed with the aim of graduating with a Bachelor of Science in Engineering From the St. Pölten University of Applied Sciences Media Technology degree course Under the supervision of FH-Prof. Mag. Markus Wintersberger Completed by Dora Takacs mt081098 St. Pölten, on June 30, 2010 Medientechnik Declaration • the attached research paper is my own, original work undertaken in partial fulfillment of my degree. • I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another person’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. • Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. • I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. • I understand also that too great a reliance on the work of others may lead to a low mark. Day Undersign Takacs, Dora, mt081098 2 Medientechnik Abstract Open source films, which are movies produced and published using open source methods, became increasingly widespread over the past few years. The purpose of my bachelor thesis is to explore the young history of open source filmmaking, its functionality and the simple distribution of such movies. -
“Blender, a Classic Underdog Story, Is the World's Most Widely Used 3D
The art of open source Open source powers every part of the creative arts. Jim Thacker explores how Blender is conquering animation and movie effects. lender has been used to create It may not be the market leader – animations for national commercial tools, particularly those television channels and developed by Autodesk, are still used for Bcommercials for Coca-Cola, the majority of professional animation, Pizza Hut and BMW. It creates slick visual effects and game development marketing images for brands ranging from projects – in the West, at least. But it is Puma to Philippe Starck. It has even been capable of great work. used on Oscar-nominated movies. And Over the next four pages, we’ll meet best of all, it’s open- source software. “Blender, a classic underdog Blender is a classic underdog story. story, is the world’s most Originally the in-house 3D toolset of a small widely used 3D software.” Dutch animation firm, it has survived early financial hardships and some of the companies using Blender for even the collapse of its original distributor to commercial projects, from illustrations win widespread popular acclaim. With over for cereal boxes to the visual effects four million downloads each year, it is now by for Red Dwarf. We’ll explore how the far the world’s most widely used 3D software. software powers an international But more importantly for the purposes network of animation studios on every of this article, it’s software that commands continent except Antarctica. And we’ll even the respect of professional artists. Once try to answer the question: ‘If Blender is so dismissed as a tool for hobbyists, Blender is great, why doesn’t it get used on more now praised by some of the world’s largest Hollywood movies?’ animation studios. -
Digital Movie-Making Digital
BLENDER Your project guide to preproduction, animation, and visual effects using the short fi lm Mercator YOU CAN DO IT WITH BLENDER, AND HERE’S HOW Create professional assets for fi lm, video, and games with open-source Blender 3D animation software and this project guide. Using the Blender-created short fi lm Mercator as a real-world tutorial, this unique book reveals animation and STUDIO PROJECTS movie-making techniques and tricks straight from the studio. Master the essentials of preproduction. Organize sequences and shots and build an asset library. Re-create an action BLENDER STUDIO PROJECTS scene from Mercator using actual movie assets. It’s all here and more in this hands-on guide. • Learn key Blender attributes, tools, and pipelines for professional results • Conceptualize, write a story, sketch the art, and storyboard your concepts • Organize sequences and shots, build an asset library, and create 2D and 3D animatics • See step by step how to add textures and materials for added realism Digital Movie-Making • Learn organic and inorganic mesh modeling and add clothing that wrinkles and moves • Master the rigging of objects, environments, and characters Digital Movie-Making Assemble 3D animatics Learn character rigging Create driven normal Set up cloth simulations maps using sculpting VALUABLE COMPANION DVD The DVD includes starter, intermediate, and fi nal fi les, as well as movie fi les to help you every step of the way. About the Authors Tony Mullen, PhD, teaches computer graphics and programming at Tsuda College and Musashino Art College in Tokyo. His screen credits include writer, codirector, or lead animator on several short fi lms, including the award-winning live-action/stop-motion fi lm Gustav Braustache and the Auto-Debilitator. -
Made with Creative Commons MADE with CREATIVE COMMONS
ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State . -
Open Content Licensing
Open Content Licensing Open Content Licensing From Theory to Practice Edited by Lucie Guibault & Christina Angelopoulos Amsterdam University Press Cover design: Kok Korpershoek bno, Amsterdam Lay-out: JAPES, Amsterdam ISBN 978 90 8964 307 0 e-ISBN 978 90 4851 408 3 NUR 820 Creative Commons License CC BY NC (http://creativecommons.org/licenses/by-nc/3.0) L. Guibault & C. Angelopoulos / Amsterdam University Press, Amsterdam, 2011 Some rights reversed. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Contents 1. Open Content Licensing: From Theory to Practice – An Introduction 7 Lucie Guibault, Institute for Information Law, University of Amsterdam 2. Towards a New Social Contract: Free-Licensing into the Knowledge Commons 21 Volker Grassmuck, Humboldt University Berlin and University of Sao Paulo 3. Is Open Content a Victim of its Own Success? Some Economic Thoughts on the Standardization of Licenses 51 Gerald Spindler and Philipp Zimbehl, University of Göttingen 4. (Re)introducing Formalities in Copyright as a Strategy for the Public Domain 75 Séverine Dusollier, Centre de Recherche Informatique et Droit, Université Notre- Dame de la Paix (Namur) 5. User-Related Assets and Drawbacks of Open Content Licensing 107 Till Kreutzer, Institute for legal questions on Free and Open Source Software (ifrOSS) 6. Owning the Right to Open Up Access to Scientific Publications 137 Lucie Guibault, Institute for Information Law, University of Amsterdam 7. Friends or Foes? Creative Commons, Freedom of Information Law and the European Union Framework for Reuse of Public Sector Information 169 Mireille van Eechoud, Institute for Information Law, University of Amsterdam 8. -
Made with Creative Commons MADE with CREATIVE COMMONS
ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State . -
OPEN SOURCE RIGGING in BLENDER: a MODULAR APPROACH Ryan Cushman Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2011 OPEN SOURCE RIGGING IN BLENDER: A MODULAR APPROACH Ryan Cushman Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Computer Sciences Commons Recommended Citation Cushman, Ryan, "OPEN SOURCE RIGGING IN BLENDER: A MODULAR APPROACH" (2011). All Theses. 1055. https://tigerprints.clemson.edu/all_theses/1055 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. OPEN SOURCE RIGGING IN BLENDER: A MODULAR APPROACH A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Digital Production Arts by Ryan Cushman May 2011 Accepted by: Dr. Donald House, Committee Chair Dr. Timothy Davis Dr. Brian Malloy ABSTRACT Character rigs control characters in the traditional CG pipeline. This thesis examines the rig creation process and discusses several problems inherant in the traditional workflow—excessive time spent and a lack of uniformity, and proposes a software plugin which solves these issues. This thesis describes the creation of a tool for Blender 3D which automates the rigging process yet keeps the creativity and control in the hands of the user. A character rig designed by this tool will be fully functional--yet capable of being split into its component parts and reconstructed as the user determines. These body parts are individually scripted with the intent of maximizing reusability, and the code and rigs are distributed to the open source community for vetting.