DOCSLIB.ORG

Professional Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Professional Programme Mahatma Gandhi University MEGHALAYA www.mgu.edu.in SYLLABUS MANUAL PROFESSIONAL PROGRAMME 1 | P a g e PROGRAMME CODE --- Master of Arts in VFX Animation (MAVFXA) SEMSTER I CODE SUMJECT CREDIT Development With Traditional And Digital Art MAVFXA11 3 Script Writing & Story Board Designing MAVFXA12 3 Advanced Digital Art Photography Part-(1&2) MAVFXA13 3 Advance Digital Enhancement MAVFXA14 3 MAVFXA15P Enhancement of editing 3 MAVFXA16P Practical on Digital Arts 3 TOTAL 18 2 | P a g e SEMESTER II CODE SUMJECT CREDIT Introduction and Advancement of Next-Gen 3D MAVFXA21 3 Introduction & Advancement of 3D design MAVFXA22 3 Next-Gen Character Design MAVFXA23 3 Introduction of UV layouts and texturing MAVFXA24 3 Advance Character Setup and Animation MAVFXA25P 3 Practical on Character Design, UV layouts and texture. MAVFXA26P 3 TOTAL 18 3 | P a g e SEMESTER III CODE SUMJECT CREDIT Advance Animation and VFX MAVFXA31 3 Advance Techniques of Texturing & Lighting MAVFXA32 3 Production techniques of Lighting MAVFXA33 3 Intro of Dynamics I MAVFXA34 3 Art of Integration - Dynamics II MAVFXA35L 3 Practical on Character animation, Dynamics, texturing and Lighting MAVFXA36L 3 TOTAL 18 4 | P a g e SEMESTER IV CODE SUMJECT CREDITS Advance Rendering 3 MAVFXA41 Introduction of Compositing I 3 MAVFXA42 3D Tracking & Match Moving 3 MAVFXA43 Practical on 3D tracking, Match moving and 3 Compositing. MAVFXA44 Final Project 3 MAVFXA45L MAVFXA46L 3 TOTAL CREDITS 18 5 | P a g e Detailed Syllabus SEMESTER I MAVFXA11 --- Development With Traditional And Digital Art Unit I Development of Sketching & Drawing Development of Graphic Design Unit II Fundamentals of Communication and Design Development of Tools & Techniques Unit III The Process of Design Type & Typography Unit IV The Development of shape of Design SIGNS, SYMMOLS & CLIENT IDENTITY Unit V Career Opportunities in the Visual Art Basics of Printing Technology Creating e-Portfolios MAVFXA12 --- Script Writing & Story Board Designing UNIT I The Current Campfire: Film as a Storytelling Device- The history of storytelling - Plays vs. novels vs. film - What is a “story”? - The “idea” vs. “story” vs. “screenplay” UNIT II The Screen Story- What is it? - The logline - The essence of a screen story - Conflict (and why we love it) - Form, format and formula UNIT III The Structure of a Screenplay- Back to story- Aristotle (and what he had in common with 6 | P a g e Superbad) - The three act screenplay - The scene - Plot points UNIT IV The First Act- Establish, introduce and hook- The inciting incident - The first act plot point The Second Act- Rising conflict and overcoming obstacles - The second act plot point The Third Act- The “final battle” - The outcome of the final battle - The denouement - Happy vs. hopeful endings UNIT V Character - Plot vs. Character - Character vs. Characteristics- Actions speak louder than words - The main character (our hero!)- Other characters and character types Dialogue - The functions of dialogue – Voiceover. The Kitchen Sink-Back story & exposition- Subplots- Setup and payoff - Flashbacks- Theme Breaking the Rules - How screenwriters break them and why Genre - “What is this movie anyway?” REFERENCES: • The Writer’s Journey by Christopher Vogler • Adventures in the Screen Trade by William Goldman • The New Screenwriter Looks at the New Screenwriter by William Froug MAVFXA13 --- Advanced Digital Art Photography Part-(1&2) UNIT I Motion picture cameras: Various parts of Motion picture cameras; perforation loop; pressure plate; Plate catch; Pull down claw; magazine; threading of film; loading unloading of magazine; Types of magazine; intermittent Movement; Analysis of Claw motion; Registration pin; Sprocket wheel; Frames per sec; View finder; Eye piece adjustment; camera Motors; Slow motion and Fast motion; Reverse Movement; Tacho meter; Lens Mount Flange Depth; matte Box; Blimp; Changing bag; Magazine Cover/rain cover. UNIT II Photographic Image: Motion picture Photographic; Emulation; Film base; latent image; Graingrain technology, graininess; halation, Anti halation backing; Resolving power: definition; Sensitometer; transition; opacity; Density; base density; Relation between Density and fog level; 7 | P a g e Characteristic Curve; D-max D-min, Shoulder, Toe; Gamma; Density measurement ; black and white density and Color density; Film speed and shopper index; Contrast. Colour reproduction ; Structure of the motion picture film; Colour negative processing Remjet backing; various types of Motion picture films UNIT lll Dramatic elements embedded in the screen play; Spines; charaacter; circumsatance; dynamic relationship; wants; expectations; action; activity; acting beats; dramatic blocks; narrative beats fulcurm UNIT IV Staging ; Pattern of dramatic movement; changing the stage with in a scene; staging as part of a film’s ; Floor plan Developmeent of screen play; staging and camera angles for story board for story board artist. UNIT V Camera as Narrator; Reveal; entrance; objectives camera; subjective camera; visual design; style; coverage; lenses; compostion; dramatic blocks and camera; shot lists; story board and setups UNIT VI Execution, Installation & Presentation Inside the digital camera The Principles of Photography Types of cameras, Lenses, Camera Controls, Exposure Meter Managing Your Digital Assets Product Photography Interior and Exteriors, Action and Sports Photography MAVFXA14 --- Advance Digital Enhancement UNIT I Visual Communication, Typography, Colour and Visual Representation. The photography, Drawing and image manipulation, Elements of visual Communication : Line, Shape, Colour, Texture, Elements of Composition : Rhythm, Harmony,Balance, Symmetry, Contrast, Layout ,Grid, point of view, Introduction to Aesthetics 8 | P a g e UNIT II Typography: Anatomy of a font, Classification, Semantics, Letter Design, Resume Writing, Usage Concepts, Type in motion/Web Typography Colour: Hue, Tint, Tone, Saturation, Color Wheel, Primary, Secondary, Tertiary colors, color interaction, color models RGB, CMYK, RGY Visual Representation: illustration techniques, modes of repetition, Storyboarding, Style and Treatment, Continuity Handling the Camera, Sound Acquisition, Lighting, shooting a sequence, Interviewing skills. An introductory study of digital imaging processes and techniques in both the visual and commercial arts. Computer imagery will be generated using interactive processing software UNIT III Advanced Video Graphics Creating Raster backgrounds Creating Energy oriented Graphics Creating Logos and Identities Collages and Montages Channel Masking Creating alpha Exporting graphics to video applications UNIT IV 3D modeling and compositing Creating Animated Background Creating 3D composite Advanced camera techniques Broadcast animation Creating virtual sets for broadcast Type animation and casting styles Special effects using various plug-ins Chroma key and Rotoscoping UNIT V Non Linear Editing & Sound Introduction to various file formats from DV to Mov and HD Story boarding for Film Editing Capturing through firewire Managing and organizing footages 9 | P a g e The Detailed study of Final Cut Pro Finishing and Outputting Colour correction in a video Converting from HD to DV Media Management MAVFXA15P --- Enhancement of editing Digital Editing The fundamentals of editing: Basics of editing, Pal Video for windows, Pal quick time multimedia QuickTime, Using Project Window, Video Settings, Audio Settings, Compressor, Depth, Frame Size, Frame Rate, Importing still images, Using the monitor window, Viewing safe zones, use of editing and full knowledge about video editing. The fundamentals of transition effects: Creating Transitions, Transition Settings, Image Mask Transition, Applying Transitions, viewing transitions. Finishing & the future: Making movie, finalizing sound and effects, rendering, making video CD. Sound Editing Introduction to sound: Sound, Digital sound files, different sound formats, midi & digital audio, creating digital audio files, sound producing, sound extracting, Advantages and disadvantages of midi &digital, choosing between midi and digital audio. Linking files: Sound for the World Wide Web, adding the sound to your multimedia project, production tips, audio recording, keeping track of your sound, testing and evaluation. Record clips & editing: Sound recording, editing digital recording, trimming, splicing and assembly, volume adjustments, format conversion, re-sampling or downloading, fade-ins and fade–outs, equalization, time stretching, digital signal processing, reverting sound, making midi audio, audio file formats. Special effects: Adding effect automation enveloping, adding a volume envelop, adding a panning envelop, previewing effect automation, applying effect automation, adjusting envelope, adding envelop points, flipping a envelop points, setting fade properties, cutting, copying, pasting, envelope points, adding mirror and wave hammer, pan to left , pan to right, dry out , wet out , convert mono to stereo, looping. Finalize files: Burning the audio Cd, mp3, making the remix sound track with using all the special FX from the software. Exporting the files in diff formats, save in wav, mp3 etc. MAVFXA16P ---Practical on Digital Art Motion Caption – Formats – Methods – Usages – Motion Capture Software – Merge with Software – Expression – Formats – Methods – Usages – Expression Capture Soft ware’s – Script Animation Usage – Different Language of Script Animation Among the Software. 10 | P a g e Concept Development – Scripting
Load more

Recommended publications
  • Velocity Skinning for Real‐Time Stylized Skeletal Animation
    DOI: 10.1111/cgf.142654 EUROGRAPHICS 2021 / N. Mitra and I. Viola Volume 40 (2021), Number 2 (Guest Editors) Velocity Skinning for Real-time Stylized Skeletal Animation Damien Rohmer1, Marco Tarini2, Niranjan Kalyanasundaram3, Faezeh Moshfeghifar4, Marie-Paule Cani1, Victor Zordan3 1 LIX, Ecole Polytechnique/CNRS, IP Paris, 2 University of Milan, 3 Clemson University, 4 University of Copenhagen Figure 1: Left: Skeletal rig, with a single bone in the head: When animated using velocity skinning, secondary animation effects are automatically added to the ear, and face, while the horn can be set as rigid. Right: The native efficiency and simplicity of the method is compatible with GPU implementation used to compute thousands of animated cows in real-time. Abstract Secondary animation effects are essential for liveliness. We propose a simple, real-time solution for adding them on top of standard skinning, enabling artist-driven stylization of skeletal motion. Our method takes a standard skeleton animation as input, along with a skin mesh and rig weights. It then derives per-vertex deformations from the different linear and angular velocities along the skeletal hierarchy. We highlight two specific applications of this general framework, namely the cartoon- like “squashy” and “floppy” effects, achieved from specific combinations of velocity terms. As our results show, combining these effects enables to mimic, enhance and stylize physical-looking behaviours within a standard animation pipeline, for arbitrary skinned characters. Interactive on CPU, our method allows for GPU implementation, yielding real-time performances even on large meshes. Animator control is supported through a simple interface toolkit, enabling to refine the desired type and magnitude of deformation at relevant vertices by simply painting weights.
    [Show full text]
  • Analysis and Improvement of Blender's Texture Painting Functionality
    Angewandte Computer- und Biowissenschaften Professur Medieninformatik Bachelor Thesis Analysis and improvement of Blender's texture painting functionality Patricia Ließ Mittweida, der 2. Juni 2019 Erstprufer:¨ Prof. Dr. rer. nat. Marc Ritter Zweitprufer:¨ Manuel Heinzig M. Sc. Ließ, Patricia Analysis and improvement of Blender's texture painting functionality Bachelor Thesis, Angewandte Computer- und Biowissenschaften Hochschule Mittweida{ University of Applied Sciences, June 2019 Abstract This thesis is about the process of painting textures for 3D game models and the tools available in 2D and 3D software to do so with a focus on the Open Source 3D Suite Blender. Name: Ließ, Patricia Studiengang: Medieninformatik und Interaktives Entertainment Seminargruppe: MI15w2-B English Title: Analysis and improvement of Blender's texture painting functiona- lity Inhaltsverzeichnis Abbildungsverzeichnis III Tabellenverzeichnis V 1 Introduction and Motivation 1 1.1 Reasons for using Blender ........................ 2 1.2 Texture Painting and other Creation Methods............. 3 1.3 Objective and Structure of the Thesis.................. 4 2 Basic Concepts 7 2.1 Defining the Surface of a 3D Object................... 7 2.2 The Basics of Color............................ 12 2.3 Requirements of a Video Game Production Environment . 13 2.4 Texture Painting Workflow........................ 14 2.5 Tool requirements for painting in 2D .................. 15 3 Tool Analysis 19 3.1 Texture Painting in Blender....................... 20 3.2 What Blender is lacking in terms of Texture Painting......... 21 3.3 Alternative solutions in similar applications .............. 23 4 Requirements and Specifications 29 4.1 Blender Philosophy............................ 29 4.2 Principles of Good Usability....................... 31 4.3 Add-on Usability ............................. 32 4.4 Python in Blender ...........................
    [Show full text]
  • Camp Blender 1
    8/2/2020 Camp Blender 1 http://cs.oregonstate.edu/~mjb/blender This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Mike Bailey [email protected] Computer Graphics blender283.pptx mjb – August 2, 2020 Blender Shortcuts You Will Use a Lot 2 Shortcut What it Does LMB Select something Shift-LMB Add something else to the selection MMB Rotate the scene Shift-MMB Pan the scene Scroll Wheel Zoom in and out Tab Toggle between Object Mode and Edit Mode Control-Tab Bring up Mode pie menu ` (back quote) Bring up View pie menu a Select all Click in empty space Unselect all Alt-a Unselect all Escape Get you out of almost anything (including stopping a render or an animation) b, c Box or circle select Shift-d Duplicate e Extrude (in edit mode) F3 Search g Grab (translate) an object Computer Graphics mjb – August 2, 2020 1 8/2/2020 Blender Shortcuts You Will Use a Lot 3 Shortcut What it Does Shift-g Group i Insert a keyframe Control-j Join 2 or more objects m Send object to a collection (layer) n Toggle the Sidebar menu Shift-n Recalculate normals p Partition (only in edit mode) Control-p Establish a parent-child relationship (last object selected will be the parent) Alt-p Destroy a parent-child relationship Control-Alt-q Toggle quad viewing r Rotate an object s Scale an object Shift-s Pie menu for using the 3D Cursor Spacebar Start / Pause an animation t Toggle the Object Tools menu x Delete whatever is selected z Bring up a display mode pie menu Control-z Undo Alt-z Toggle x-ray mode Control-Shift-z Redo F12 Render a scene image F11 Return to the interactive scene Computer Graphics mjb – August 2, 2020 What is Blender? 4 Blender is a free program that lets you do professional-looking modeling, rendering, and animation.
    [Show full text]
  • Color Enhancement Strategies for 3D Printing of X-Ray Computed Tomography Bone Data for Advanced Anatomy Teaching Models
    applied sciences Technical Note Color Enhancement Strategies for 3D Printing of X-ray Computed Tomography Bone Data for Advanced Anatomy Teaching Models Megumi Inoue 1,2, Tristan Freel 2, Anthony Van Avermaete 2 and W. Matthew Leevy 1,2,3,* 1 Department of Biological Sciences, 100 Galvin Life Science Center, University of Notre Dame, Notre Dame, IN 46556, USA; [email protected] 2 IDEA Center Innovation Lab, 1400 E Angela Blvd, South Bend, IN 46617, USA; [email protected] (T.F.); [email protected] (A.V.A.) 3 Harper Cancer Research Institute, University of Notre Dame, Notre Dame, IN 46556, USA * Correspondence: [email protected]; Tel.: +57-4631-1683 Received: 22 January 2020; Accepted: 17 February 2020; Published: 25 February 2020 Abstract: Three-dimensional (3D) printed anatomical models are valuable visual aids that are widely used in clinical and academic settings to teach complex anatomy. Procedures for converting human biomedical image datasets, like X-ray computed tomography (CT), to prinTable 3D files were explored, allowing easy reproduction of highly accurate models; however, these largely remain monochrome. While multi-color 3D printing is available in two accessible modalities (binder-jetting and poly-jet/multi-jet systems), studies embracing the viability of these technologies in the production of anatomical teaching models are relatively sparse, especially for sub-structures within a segmentation of homogeneous tissue density. Here, we outline a strategy to manually highlight anatomical subregions of a given structure and multi-color 3D print the resultant models in a cost-effective manner. Readily available high-resolution 3D reconstructed models are accessible to the public in online libraries.
    [Show full text]
  • Expotees 2014 Showcasing the Next Generation of Digital Expertise School of Computing
    O BRING THIS COVER TO LIFE ExpoTees 2014 Showcasing the next generation of digital expertise School of Computing Inspiring success Welcome to ExpoTees 2014 What is ExpoTees 2014 ExpoTees 2014 is our School of project is within an area they have Computing’s exhibition of outstanding gained an interest, either through a computing innovation, technology work placement or their studies. Some and design. It offers an opportunity students undertake projects with to recruit bright, new talent to your external clients that require project organisation. managing to industry standard. These innovative, research, design and ExpoTees, now in its ninth year, development projects make up an has grown significantly in size and exciting and diverse showcase. reputation. This year’s event is held over two days to accommodate over This year we are delighted to include 200 exhibits selected from some of the exhibits from Prague College, ESAT finest examples of work produced by and Botho University – their students our final-year students. are exhibiting alongside the UK students on day one. These exhibits represent the full spectrum of subjects taught at the We can proudly boast that our School of Computing; graduates achieve great success in Day 1 industry, sometimes even fame. This is a superb opportunity to meet our rising Computer science, web and digital stars of 2014 before they embark on media their careers. Day 2 Find out more about our our School Animation, visual effects and games of Computing’s digital expertise and Our students undertake an in-depth range of programmes. exploration of a chosen subject and T: 01642 342631 ExpoTees 2014 is our ninth annual exhibition of demonstrate their ability to research, E: [email protected] students’ work from Teesside University’s School of analyse, synthesise, and creatively tees.ac.uk Computing.
    [Show full text]
  • Camp Blender 1 Blender Shortcuts You Will Use a Lot 2 Shortcut What It Does LMB Select Something
    8/2/2020 Camp Blender 1 Blender Shortcuts You Will Use a Lot 2 http://cs.oregonstate.edu/~mjb/blender Shortcut What it Does LMB Select something Shift-LMB Add something else to the selection MMB Rotate the scene Shift-MMB Pan the scene Scroll Wheel Zoom in and out Tab Toggle between Object Mode and Edit Mode Control-Tab Bring up Mode pie menu ` (back quote) Bring up View pie menu a Select all Click in empty space Unselect all Alt-a Unselect all Escape Get you out of almost anything (including stopping a render or an animation) b, c Box or circle select Shift-d Duplicate This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 e Extrude (in edit mode) International License Mike Bailey [email protected] F3 Search g Grab (translate) an object Computer Graphics Computer Graphics blender283.pptx mjb – August 2, 2020 mjb – August 2, 2020 Blender Shortcuts You Will Use a Lot 3 What is Blender? 4 Shortcut What it Does Shift-g Group Blender is a free program that lets you do professional-looking i Insert a keyframe modeling, rendering, and animation. Control-j Join 2 or more objects m Send object to a collection (layer) You can get Blender for yourself by going to the n Toggle the Sidebar menu web site: http://www.blender.org Shift-n Recalculate normals p Partition (only in edit mode) Note: The version number Control-p Establish a parent-child relationship (last object selected will be the parent) changes often. These notes Alt-p Destroy a parent-child relationship were written against Blender Control-Alt-q Toggle quad viewing version 2.8.3.
    [Show full text]
  • The Design and Engineering Variable Character Morphology
    The Design and Engineering of Variable Character Morphology Scott Michael Eaton B.S. Mechanical Engineering Princeton University, May 1995 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY August 2001 Author (t Michael Eaton Program in e IArts and Sciences August 10, 2001 Certified by Bruce M. Blumberg Associate Professorof Media Arts and Sciences Asahi Broadcasting Corporation Career Development Professor of Media Arts and Sciences Accepted ROTCH Dr. Andlew B. Lippman MASSACHUSETTS NSTiTUTE Chair,Departmental Committee on GraduateStudents OF TECHINOLOGY Program in Media Arts and Sciences 2001 OCT 1 2 LIBRARIES copyright 2001 Massachusetts Institute of Technology, all rights reserved The Design and Engineering of Variable Character Morphology Scott Michael Eaton Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY August 2001 Read by: Rebecca Allen Professor Department of Design | Media Arts University of California Los Angles Hisham Bizri Research Fellow Center for Advanced Visual Studies Massachusetts Institute of Technology The Design and Engineering of Variable Character Morphology Scott Michael Eaton Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY August 2001 Abstract This thesis explores the technical challenges and the creative possibilities afforded by a computational system that allows behavioral control over the appearance of a character's morphology.
    [Show full text]
  • Velocity Skinning for Real-Time Stylized Skeletal Animation
    EUROGRAPHICS 2021 / N. Mitra and I. Viola Volume 40 (2021), Number 2 (Guest Editors) Velocity Skinning for Real-time Stylized Skeletal Animation Damien Rohmer1, Marco Tarini2, Niranjan Kalyanasundaram3, Faezeh Moshfeghifar4, Marie-Paule Cani1, Victor Zordan3 1 LIX, Ecole Polytechnique/CNRS, IP Paris, 2 University of Milan, 3 Clemson University, 4 University of Copenhagen Figure 1: Left: Skeletal rig, with a single bone in the head: When animated using velocity skinning, secondary animation effects are automatically added to the ear, and face, while the horn can be set as rigid. Right: The native efficiency and simplicity of the method is compatible with GPU implementation used to compute thousands of animated cows in real-time. Abstract Secondary animation effects are essential for liveliness. We propose a simple, real-time solution for adding them on top of standard skinning, enabling artist-driven stylization of skeletal motion. Our method takes a standard skeleton animation as input, along with a skin mesh and rig weights. It then derives per-vertex deformations from the different linear and angular velocities along the skeletal hierarchy. We highlight two specific applications of this general framework, namely the cartoon- like “squashy” and “floppy” effects, achieved from specific combinations of velocity terms. As our results show, combining these effects enables to mimic, enhance and stylize physical-looking behaviours within a standard animation pipeline, for arbitrary skinned characters. Interactive on CPU, our method allows for GPU implementation, yielding real-time performances even on large meshes. Animator control is supported through a simple interface toolkit, enabling to refine the desired type and magnitude of deformation at relevant vertices by simply painting weights.
    [Show full text]
  • File Preparation for 3D Printign with FDM and Polyjet
    Best Practices: File Preparation for 3D Printing with FDM® and PolyJet™ DOC-08545 Rev. C Best Practices File Preparation for 3D Printing with FDM and PolyJet Copyrights © Copyright 2017–2019 Stratasys. All rights reserved. No part of this document may be photocopied, reproduced, or translated into any human or computer language in any form, nor stored in a database or retrieval system, without prior permission in writing from Stratasys. This document may be printed for internal use only. All copies, shall contain a full copy of this copyright notice. Trademarks Stratasys, GrabCAD Print, PolyJet, Objet Studio are trademarks of Stratasys and/or subsidiaries or affiliates and may be registered. All other product names and trademarks are the property of their respective owners. Liability Stratasys shall not be liable for errors contained herein or for incidental or consequential damages in connection with the furnishing, performance, or use of this material. Stratasys makes no warranty of any kind with regard to this material, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. It is the responsibility of the system owner/material buyer to determine that Stratasys material is safe, lawful, and technically suitable for the intended application as well as identify the proper disposal (or recycling) method consistent with local environmental regulations. Except as provided in Stratasys' standard conditions of sale, Stratasys shall not be responsible for any loss resulting from any use of its products described herein. Disclaimer Customer acknowledges the contents of this document and that Stratasys parts, materials, and supplies are subject to its standard terms and conditions, available on http://www.stratasys.com/legal/terms-and-conditions-of-sale, which are incorporated herein by reference.in certain jurisdictions.
    [Show full text]
  • Velocity Skinning for Real-Time Stylized Skeletal Animation
    Velocity Skinning for Real-time Stylized Skeletal Animation Damien Rohmer, Marco Tarini, Niranjan Kalyanasundaram, Faezeh Moshfeghifar, Marie-Paule Cani, Victor Zordan To cite this version: Damien Rohmer, Marco Tarini, Niranjan Kalyanasundaram, Faezeh Moshfeghifar, Marie-Paule Cani, et al.. Velocity Skinning for Real-time Stylized Skeletal Animation. Computer Graphics Forum, Wiley, 2021, 40 (2). hal-03195315 HAL Id: hal-03195315 https://hal-polytechnique.archives-ouvertes.fr/hal-03195315 Submitted on 14 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Velocity Skinning for Real-time Stylized Skeletal Animation Damien Rohmer1, Marco Tarini2, Niranjan Kalyanasundaram3, Faezeh Moshfeghifar4, Marie-Paule Cani1, Victor Zordan3 1 LIX, Ecole Polytechnique/CNRS, IP Paris, 2 University of Milan, 3 Clemson University, 4 University of Copenhagen Figure 1: Left: Skeletal rig, with a single bone in the head: When animated using velocity skinning, secondary animation effects are automatically added to the ear, and face, while the horn can be set as rigid. Right: The native efficiency and simplicity of the method is compatible with GPU implementation used to compute thousands of animated cows in real-time. Abstract Secondary animation effects are essential for liveliness.
    [Show full text]
  • Benjamin Lindquist Game Environment Texturing
    Benjamin Lindquist Game Environment Texturing Texture Blending and Other Texturing Techniques Metropolia Ammattikorkeakoulu Medianomi (AMK) Viestintä Opinnäytetyö 30.4.2015 Tiivistelmä Tekijä Benjamin Lindquist Otsikko Peliympäristöjen teksturointi – Tekstuuriblendaus ja muut teksturointitekniikat Sivumäärä 63 sivua + 1 liite Aika 30.4.2015 Tutkinto Medianomi Koulutusohjelma Viestintä Suuntautumisvaihtoehto 3D-animointi ja -visualisointi Ohjaaja Lehtori Kristian Simolin Opinnäytetyön tavoitteena on osoittaa, miten reaaliaikaisia peliympäristöjä voidaan teksturoida sujuvasti ja tehokkaasti sekä millaisia menetelmiä tähän tarkoitukseen on olemassa. Havainnollistan perinteisten teksturointimenetelmien rajoituksia ja tarjoan sujuvampia vaihtoehtoja näiden tilalle. Olen tutkinut monia teksturointimenetelmiä kattavasti lukemalla lukuisia lähteitä ja käyttämällä useita niistä sekä työssä että vapaa- ajalla. Käyn läpi näiden eri menetelmien ominaisuuksia sekä niiden hyviä ja huonoja puolia esimerkkien kautta havainnollistaen. Pääasiallisena aiheena käyn läpi tutkimustani blendkarttojen käytettävyydestä reaaliaikaisen teksturoinnin yhteydessä, sekä paneudun syvemmin siihen, miten kehitin reaaliaikaisen blendkarttoja hyödyntävän varjostinohjelman Blenderissä Bugbear Entertainment Ltd:n Environment Art -tiimille. Lopuksi esittelen myös muutamia muita vaihtoehtoisia teksturointimenetelmiä, kuten esimerkiksi modulaarista teksturointia, joita olen tutkinut ja käyttänyt työelämässäni. Esittelen myös joitakin lupaavia menetelmiä, joita olen tutkinut vapaa-ajallani,
    [Show full text]
  • Tekijän Niim
    Esa Nietula From Vision to Reality: Making of a 3D Environment Thesis Kajaani University of Applied Sciences Bachelor of Business Administration Business Information Technology programme 3.3.2013 OPINNÄYTETYÖ TIIVISTELMÄ Koulutusala Koulutusohjelma Luonnontieteiden ala Tietojenkäsittelyn koulutusohjelma Tekijä(t) Esa Nietula Työn nimi From Vision to Reality: Making of a 3D Environment Vaihtoehtoisetvaihtoehtiset ammattiopinnot Ohjaaja(t) Peligrafiikka Nick Sweetman Toimeksiantaja Aika Sivumäärä ja liitteet 3.3.2013 53 From Vision to Reality: Making of a 3D Environmen t käsittelee korkealaatuisen 3D-peliympäristön luontia Unreal Development Kit (UDK) avulla. UDK:ta voidaan käyttää omien pelien sekä sisällön tuottamiseen. UDK käyttää Unreal Engineä, joka on yksi käytetyimmistä pelimoottoreista. Tämä opinnäytetyö tehtiin henkilökohtaisena oppimisprosessina. Päämääränä oli oppia käyttämään UDK:ta, haastamaan työskentelytavat sekä opiskella eri vaiheet, jotka yhdessä auttavat luomaan uskottavan 3D-ympäristön. Peligraafikon on tärkeää opiskella uusia tekniikoita, joita käytetään uusimmissa peleissä sekä on tärkeää omata tehokas työskentelytapa. Opinnäytetyön teoriaosuus koostuu visuaalisen kerronnan tärkeydestä peleissä, ympäristön suunnittelusta, uskottavuuden luonnista sekä UDK:n esittelystä. Työosuus koostuu 3D-ympäristöstä, joka tehtiin tätä opinnäytetyötä varten. Projektiosuus sisältää kuvia eri kehitysvaiheilta, sekä kuvia, jotka esittelevät lopputuloksen. 3D-ympäristö suunniteltiin UDK:ssa ja 3D-objektien mallinnus tehtiin 3ds Max ohjelmassa.
    [Show full text]