DOCSLIB.ORG

Edexcel BTEC Levels 4 and 5 Higher Nationals Specification in Creative Media Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Creative Media Production Contents Unit 1: Contextual Studies for Creative Media Production 1 Unit 2: Research Techniques for Creative Media Production 5 Unit 3: Project Design, Implementation and Evaluation 11 Unit 4: Special Subject Investigation for Creative Media Production 15 Unit 5: Practical Skills for Radio Production 19 Unit 6: Practical Skills for Moving Image Production 23 Unit 7: Practical Skills for Journalism 29 Unit 8: Practical Skills for Computer Game Animation 33 Unit 9: Practical Skills for Computer Game Design 37 Unit 10: Radio Studies 41 Unit 11: Film Studies 45 Unit 12: Television Studies 49 Unit 13: Journalism Studies 53 Unit 14: Computer Games Studies 57 Unit 15: Career Development for the Radio Industry 61 Unit 16: Career Development for the Moving Image Industries 65 Unit 17: Career Development for Journalism 71 Unit 18: Career Development for the Computer Games Industry 77 Unit 19: Speech Package Production for Radio 83 Unit 20: Radio Magazine Programme Production 89 Unit 21: Radio Commercial Production 93 Unit 22: Audio Books, Audio Guides and Talking Newspapers 99 Unit 23: Music Sequence Production for Radio 103 Unit 24: Multi-track Recording for Radio Production 107 Unit 25: Radio Features Production 111 Unit 26: Script Writing for Factual Radio 117 Unit 27: Interview and Presentation Techniques for Radio 121 Unit 28: Producing Multi-platform Radio Programmes 127 Unit 29: Radio Studio Technology 131 Unit 30: Camera and Lighting Techniques for Moving Image Production 135 Unit 31: Development and Techniques of Film and Video Editing 141 Unit 32: Promotional Video Production 145 Unit 33: Fiction Production for the Moving Image 149 Unit 34: Television Studio Production 157 Unit 35: Animation Techniques 163 Unit 36: Music Video Production 167 Unit 37: Advertisement Production for Television 171 Unit 38: DVD Menu Design and Authoring 175 Unit 39: Interview and Presentation Techniques for Television 179 Unit 40: News Journalism for Print 183 Unit 41: Page Design and Layout for Newspapers and Magazines 187 Unit 42: Radio Journalism 191 Unit 43: Shorthand for Journalists 195 Unit 44: Law for Journalists 199 Unit 45: Drawing Techniques for Computer Game Concept Art 203 Unit 46: 2D Digital Graphics for Computer Games 207 Unit 47: 2D Digital Animation for Computer Games 213 Unit 48: Computer Game Platform Fundamentals 219 Unit 49: 3D Computer Game Engines 223 Unit 50: Music and Sound for Computer Games 227 Unit 51: Computer Game Storytelling Techniques 231 Unit 52: Ideas Generation for Computer Games 235 Unit 53: Radio Documentary Production 239 Unit 54: Script Writing for Radio Fiction 245 Unit 55: Radio Quizzes and Light Entertainment 251 Unit 56: Radio Drama Production 257 Unit 57: Radio Station Management 263 Unit 58: Sound Design for Moving Image Production 267 Unit 59: Producer for Moving Image Production 271 Unit 60: Director for Moving Image Production 277 Unit 61: Moving Image Documentary Production 283 Unit 62: Television News 289 Unit 63: Script Writing for Moving Image Fiction 293 Unit 64: Politics for Journalists 297 Unit 65: Photojournalism 303 Unit 66: Feature Writing for Newspapers and Magazines 309 Unit 67: Writing for Specialist Publications 313 Unit 68: Convergent Journalism 317 Unit 69: 3D Modelling for Computer Games 323 Unit 70: 3D Environments for Computer Games 329 Unit 71: 3D Animation for Computer Games 335 Unit 72: CGI Rendering and Lighting for Computer Games Animation 341 Unit 73: 3D Character Animation for Computer Games 345 Unit 74: Production Techniques for Computer Games 349 Unit 75: Computer Game Design Techniques 353 Unit 76: Level Design for Computer Games 357 Unit 77: Scripting for Computer Game Design 363 Unit 78: Quality Assurance for Computer Games 367 Unit 79: Human-Computer Interfaces for Computer Games 373 Unit 80: Work Experience in the Creative Media Sector 377 UNIT 1: CONTEXTUAL STUDIES FOR CREATIVE MEDIA PRODUCTION Unit 1: Contextual Studies for Creative Media Production Unit code: R/601/8242 Level: 4 Credit value: 15 Aim This unit aims to develop learners’ understanding of theoretical approaches to media production in order to inform their own practice and set it within a wider context. Unit abstract This unit provides an opportunity for learners to undertake a study of the creative media in a chosen context. The unit will develop an appreciation of industry, products and audiences and the theoretical approaches used to analyse them. The unit requires the application of academic research and referencing methods which are appropriate for learners at this level of study. On completing this unit learners will have gained an understanding of general media theory which can then be applied and expanded upon in the specialist area of study or transferred to the wider context of the work environment to inform their own production work. Learning outcomes On successful completion of this unit a learner will: 1 Understand the institutional context of creative media production and its influence on production 2 Understand creative media products in the context of their reception 3 Be able to present research on the production and reception of creative media products following relevant conventions. 9781446955123 – Pearson BTEC Levels 4 and 5 Higher Nationals specification in Creative Media Production – Issue 3 – July 20117 © Pearson Education Ltd 2017 1 UNIT 1: CONTEXTUAL STUDIES FOR CREATIVE MEDIA PRODUCTION Unit content 1 Understand the institutional context of creative media production and its influence on production Sector industries: film; television; radio; publishing; audio recording, eg music, audio books, audio guides; interactive media; computer games; emerging industries, eg cross-platform Control: corporate control; access to distribution; international distribution; sources of income; regulation; legal constraints; self-imposed controls Distribution models: cinema (Hollywood, Bollywood, world cinema, mainstream, independent); multiplex and art house cinema; broadcast television (public service, network, free to air, subscription, analogue, digital); radio (national, regional, local, restricted service licence, closed environment, digital audio broadcast, analogue); print (national press, local press, magazines); music (major labels, independent labels, retail, download); new media (internet, mobile); computer games industry (gaming on demand (GoD), electronic software distribution (ESD), game publishing, retail); global and local distribution; language communities Marketing: corporate and brand identity; single and cross-platform advertising; viral; sponsorship; product placement; impact assessment, eg sales figures, ratings, circulation figures, number of hits, consumer awareness 2 Understand creative media products in the context of their reception Products: films; television programmes; radio programmes; newspapers; magazines; books; recorded music; recorded speech; websites; computer games; emerging industries’ products Reception: theoretical approaches to content, eg structuralism, semiotics, content analysis, representation, genre theory, narrative theory, discourse analysis, ideology; theoretical approaches to audiences, eg reception theory, uses and gratifications, active or passive, fan culture, ethnography, effects debates, post modernism 3 Be able to present research on the production and reception of creative media products following relevant conventions Research: focus, eg topic, texts, institutions, events; research, eg primary, secondary, quantitative, qualitative; sources, eg libraries, archives, internet; literature review; research trail; plagiarism Presentation: format eg, essay, formal presentation, seminar group, report, viva voce; content; structure; language, eg clarity, grammar, syntax, spelling, punctuation Conventions: structure of content, eg abstract, table of contents, summary, introduction, conclusion, chapters, numbered paragraphs, tables, graphics, indexing; citation; quotation; footnotes; terminology, eg op.cit., idem, ibid; referencing, eg Harvard, Modern Languages Association (MLA), Modern Humanities Research Association 9781446955123 – Pearson BTEC Levels 4 and 5 Higher Nationals specification in Creative Media Production – 2 Issue 3 – July 20117 © Pearson Education Ltd 2017 UNIT 1: CONTEXTUAL STUDIES FOR CREATIVE MEDIA PRODUCTION Learning outcomes and assessment criteria Learning outcomes Assessment criteria for pass On successful completion of The learner can: this unit a learner will: LO1 Understand the institutional 1.1 critically review the institutional context of the creative context of creative media media and evaluate its influence on production production and its influence on production LO2 Understand creative media 2.1 analyse the reception of creative media products products in the context of their reception LO3 Be able to present research 3.1 present research on the production and reception of on the production and creative media products clearly reception of creative media 3.2 correctly follow relevant conventions for presenting products following relevant research outcomes. conventions. 9781446955123 – Pearson BTEC Levels 4 and 5 Higher Nationals specification in Creative Media Production – Issue 3 – July 20117 © Pearson Education Ltd 2017 3 UNIT 1: CONTEXTUAL STUDIES FOR CREATIVE MEDIA PRODUCTION Guidance Links This unit links with the following units in the Edexcel BTEC HNC and HND in Creative Media Production: Unit 4: Special Subject Investigation
Recommended publications
  • BY DMYTRO TKACHUK COMPUTER GRAPHICS SEMINAR Non Photorealistic Rendering

    BY DMYTRO TKACHUK COMPUTER GRAPHICS SEMINAR Non Photorealistic Rendering

    Non Photorealistic Rendering BY DMYTRO TKACHUK COMPUTER GRAPHICS SEMINAR Non photorealistic rendering Non photorealistic rendering (NPR) is a process by which computer engineers try to animate and represent items inspired by paintings, drawings, cartoons and other sources that do not feature photorealism. Usage of NPR 1. Entertainment • Cartoons • Movies • Games • Illustrations 2. Technical illustrations • Architectural drawings • Assemblies • Exploded view diagrams 3. Smart depiction systems Cel Shading Cel Shading, also called toon shading, is a 3D technique based on a specific shading method, which recreates the look of traditional 2D animation cels with the use of flat colours and used for shading 3D objects in a unrealistic way. But it’s not only referred to a shading method, nowadays Cel Shading is known also and more generally as an artistic style/method of making 3D graphics seem cartoonish with the use of specifically colored textures, and also using outlines to simulate drawing lines. Cel shading Cel shading: how it works Shading Cel shading effect is generated from 3D object’s normals. Each normal has it’s own angle, which is determined between its direction and the lighting point. It calculates the respective cosine and applies a specific tone to that faces/area. Consequently, when the angle between normal and light is zero, the tone will be brighter. When the angle increases the tone will become darker. Cel shading: how it works Shading The different tones are flat and change without gradients, simulating cell painting style. Depending on the style, the number of tones can be increased or decreased. Cel shading: how it works Outline Sometimes to achieve cartoon look, computer graphics developers include black outlines simulating drawing strokes.
  • ECSE 4961/6961: Computer Vision and Graphics for Digital Arts Dvds for the Week of September 24–28

    ECSE 4961/6961: Computer Vision and Graphics for Digital Arts Dvds for the Week of September 24–28

    ECSE 4961/6961: Computer Vision and Graphics for Digital Arts DVDs for the week of September 24–28 What Dreams May Come (Sept 24) Start with Chapter 6 (“Painting Your Own Surroundings”) about 24 minutes in. The setting is that the Robin Williams character has died and finds out that heaven, for him, is to be inside one of his wife’s paintings. There are some interesting effects reminiscent (although probably not technically related to) Hertzmann’s paper on painterly rendering. At about 25:30 there’s a shot with the camera pushing forward through flowers and plants. At about 28:00 there are some effects of sun-dappled water that capture a painterly feel. At 29:00 there’s a short clip of a bird flying through an expressionistic sky. You can stop watching around 32:00 (when the characters enter the house). Next, go to the extras and select the featurette. Skip forward to about 11:00 through 13:30 when the director and effects artists discuss how the painterly effect was achieved, and show some raw footage and steps to achieving the final effect. Discuss similarities and differences to Hertzmann, extensions and inspirations, technical strengths and weaknesses, etc. A Scanner Darkly (Sept 24) The whole movie is probably worth watching, but in the interest of keeping the video part to 15-20 minutes, I suggest going directly to the extras section of the disc. Watch the Theatrical Trailer, which gives a pretty good overview of the animation style in different scenes. Then watch the extra titled “The Weight of the Line: Animation Tales”.
  • AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) Qualification Specification V2 ©Version AIM Awards 2 – 2014May 2015

    AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) Qualification Specification V2 ©Version AIM Awards 2 – 2014May 2015

    AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 ©Version AIM Awards 2 – 2014May 2015 AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) 601/3355/7 2 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Contents Page Section One – Qualification Overview 4 Section Two - Structure and Content 9 Section Three – Assessment and Quality Assurance 277 Section Four – Operational Guidance 283 Section Five – Appendices 285 Appendix 1 – AIM Awards Glossary of Assessment Terms 287 Appendix 2 – QCF Level Descriptors 290 3 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Section 1 Qualification Overview 4 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Section One Qualification Overview Introduction Welcome to the AIM Awards Qualification Specification. We want to make your experience of working with AIM Awards as pleasant as possible. AIM Awards is a national Awarding Organisation, offering a large number of Ofqual regulated qualifications at different levels and in a wide range of subject areas. Our qualifications are flexible enough to be delivered in a range of settings, from small providers to large colleges and in the workplace both nationally and internationally. We pride ourselves on offering the best possible customer service, and are always on hand to help if you have any questions. Our organisational structure and business processes enable us to be able to respond quickly to the needs of customers to develop new products that meet their specific needs.
  • Art Styles in Computer Games and the Default Bias

    Art Styles in Computer Games and the Default Bias

    University of Huddersfield Repository Jarvis, Nathan Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Original Citation Jarvis, Nathan (2013) Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19756/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THE UNIVERSITY OF HUDDERSFIELD Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Master of Research (MRes) Thesis Nathan Jarvis - U0859020010 18/09/2013 Supervisor: Daryl Marples Co-Supervisor: Duke Gledhill 1.0.0 – Contents. 1.0.0 – CONTENTS. 1 2.0.0 – ABSTRACT. 4 2.1.0 – LITERATURE REVIEW. 4 2.2.0 – SUMMARY OF CHANGES (SEPTEMBER 2013).
  • The Uses of Animation 1

    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.
  • Jobs and Education

    Jobs and Education

    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
  • Enhanced Cartoon and Comic Rendering

    Enhanced Cartoon and Comic Rendering

    EUROGRAPHICS 2006 / D. W. Fellner and C. Hansen Short Papers Enhanced Cartoon and Comic Rendering Martin Spindler † and Niklas Röber and Robert Döhring ‡ and Maic Masuch Department of Simulation and Graphics, Otto-von-Guericke University of Magdeburg, Germany Abstract In this work we present an extension to common cel shading techniques, and describe four new cartoon-like ren- dering styles applicable for real-time implementations: stylistic shadows, double contour lines, soft cel shading, and pseudo edges. Our work was mainly motivated by the rich set of stylistic elements and expressional possibili- ties within the medium comic. In particular, we were inspired by Miller’s “Sin City” and McFarlane’s “Spawn”. We designed algorithms for these styles, developed a real-time implementation and integrated it into a regular 3D game engine. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Three-Dimensional Graphics and Realism]: Color, shading, shadowing, and texture 1. Introduction many cases, these techniques are better in emphasizing the essential aspects of a concept, when compared to a photore- For some years, the field of non-photorealistic rendering atlistic rendition. (NPR) has also focused on the representation of comic-like computer graphics, being limited to typical characteristics Another traditional technique, known as cartoon- or cel of cel shading. The gap in the expressiveness of traditional shading, has also found its way into the field of computer comics over their adoption in computer applications still re- graphics [Dec96, LMHB00]. Since its origin is in comic mains, because only little research has been done in reflect- books and cartoon movies, this technique is often used in ing, which artistic style is appropriate for a certain purpose, entertaining environments, such as computer games [Ubi].
  • Animation 1 Animation

    Animation 1 Animation

    Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides.
  • Pre Visit Activity 2

    Pre Visit Activity 2

    Animation Pre Visit Activity 2. Types of Animation. Basic Types of Animation: 1. • Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera. 2. • Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the type of media used to create the animation. • Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints • Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have armature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated in order to pose the figures.
  • Using Dragonframe 4.Pdf

    Using Dragonframe 4.Pdf

    Using DRAGONFRAME 4 Welcome Dragonframe is a stop-motion solution created by professional anima- tors—for professional animators. It's designed to complement how the pros animate. We hope this manual helps you get up to speed with Dragonframe quickly. The chapters in this guide give you the information you need to know to get proficient with Dragonframe: “Big Picture” on page 1 helps you get started with Dragonframe. “User Interface” on page 13 gives a tour of Dragonframe’s features. “Camera Connections” on page 39 helps you connect cameras to Drag- onframe. “Cinematography Tools” on page 73 and “Animation Tools” on page 107 give details on Dragonframe’s main workspaces. “Using the Timeline” on page 129 explains how to use the timeline in the Animation window to edit frames. “Alternative Shooting Techniques (Non Stop Motion)” on page 145 explains how to use Dragonframe for time-lapse. “Managing Your Projects and Files” on page 149 shows how to use Dragonframe to organize and manage your project. “Working with Audio Clips” on page 159 and “Reading Dialogue Tracks” on page 171 explain how to add an audip clip and create a track reading. “Using the X-Sheet” on page 187 explains our virtual exposure sheet. “Automate Lighting with DMX” on page 211 describes how to use DMX to automate lights. “Adding Input and Output Triggers” on page 241 has an overview of using Dragonframe to trigger events. “Motion Control” on page 249 helps you integrate your rig with the Arc Motion Control workspace or helps you use other motion control rigs.
  • Vector Graphics Animation with Time-Varying Topology

    Vector Graphics Animation with Time-Varying Topology

    Vector Graphics Animation with Time-Varying Topology Boris Dalstein∗ Rémi Ronfard Michiel van de Panne University of British Columbia Inria, Univ. Grenoble Alpes, LJK, France University of British Columbia key key key key inbetween inbetween inbetween inbetween vertex closed edge open edge face vertex closed edge open edge face 11number 3 10 2 10 3 9 1 space-time time visualization time-slices visualization Legend Space-time visualization Time-slices visualization Figure 1: A space-time continuous 2D animation depicting a rotating torus, created without 3D tools. First, the animator draws key cells (in blue) using 2D vector graphics tools. Then, he specifies how to interpolate them using inbetween cells (in green). Our contribution is a novel data structure, called Vector Animation Complex (VAC), which enables such interaction paradigm. Abstract 1 Introduction We introduce the Vector Animation Complex (VAC), a novel data A fundamental difference between raster graphics and vector graph- structure for vector graphics animation, designed to support the ics is that the former is a discrete representation, while the latter is a modeling of time-continuous topological events. This allows fea- continuous representation. Instead of storing individual pixels that tures of a connected drawing to merge, split, appear, or disappear at our eyes readily interpret as curves, vector graphics stores curves desired times via keyframes that introduce the desired topological that can be rendered at any resolution. As display devices spanning change. Because the resulting space-time complex directly captures a wide range of resolutions proliferate, such resolution-independent the time-varying topological structure, features are readily edited in representations are increasing in importance.
  • Trigger Happy: Videogames and the Entertainment Revolution

    Trigger Happy: Videogames and the Entertainment Revolution

    Free your purchased eBook form adhesion DRM*! * DRM = Digtal Rights Management Trigger Happy VIDEOGAMES AND THE ENTERTAINMENT REVOLUTION by Steven Poole Contents ACKNOWLEDGMENTS............................................ 8 1 RESISTANCE IS FUTILE ......................................10 Our virtual history....................................................10 Pixel generation .......................................................13 Meme machines .......................................................18 The shock of the new ...............................................28 2 THE ORIGIN OF SPECIES ....................................35 Beginnings ...............................................................35 Art types...................................................................45 Happiness is a warm gun .........................................46 In my mind and in my car ........................................51 Might as well jump ..................................................56 Sometimes you kick.................................................61 Heaven in here .........................................................66 Two tribes ................................................................69 Running up that hill .................................................72 It’s a kind of magic ..................................................75 We can work it out...................................................79 Family fortunes ........................................................82 3 UNREAL CITIES ....................................................85