The History of Anime Studio Anime Studio 11.1 Update Released August 27 2015
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Explain Discrete Choice Methods by Animation Videos
Producción Académica Jaimes, Rocío Explain discrete choice methods by animation videos Tesis para la obtención del título de posgrado de Magister en Dirección de Empresas Director: Bernhardt, José Alejandro Documento disponible para su consulta y descarga en Biblioteca Digital - Producción Académica, repositorio institucional de la Universidad Católica de Córdoba, gestionado por el Sistema de Bibliotecas de la UCC. UNIVERSIDAD CATOLICA DE CORDOBA INSTITUTO DE CIENCIAS DE LA ADMINISTRACIÓN TRABAJO FINAL DE MAESTRÍA EN DIRECCIÓN DE EMPRESAS EXPLAIN DISCRETE CHOICE METHODS BY ANIMATION VIDEOS AUTOR: ROCIO JAIMES DIRECTOR: JOSÉ ALEJANDRO BERNHARDT MONTENEGRO Frankfurt (Oder), 2020 Explain Discrete Choice Methods by Animation Videos Acknowledgements First, I would like to thank my supervisor in Germany, Sven Müller, for his guidance and support during all these months working on my thesis. I greatly appreciate the time he dedicated to clarifying my doubts. Also, I would like to thank my thesis supervisor in Argentina, Alejandro Bernhardt, for their assistance and knowledge during the process of adapting my thesis for the ICDA. Thanks to his guidance I have been able to complete this stage of my education. I would also like to thank Europa-Universität Viadrina, who accepted me to partic- ipate in their program, and to the Catholic University of Cordoba for giving me the oppor- tunity to finish my studies in Germany. Finally, I would like to thank my parents, whose unconditional support made it pos- sible to achieve my goals, to my boyfriend, whose emotional support was priceless, and to my brothers and friends. ROCIO JAIMES ii Explain Discrete Choice Methods by Animation Videos Abstract 2020 was the year in which distance learning (also known as Virtual Education) gained importance, providing an analysis framework on existing tools in order to enhance their results. -
CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Metadefender Core V4.13.1
MetaDefender Core v4.13.1 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
Moho Free Download Full Version Moho Anime Studio
moho free download full version Moho Anime Studio. Are you someone who is interested in animation, specifically in the Japanese anime style? Are you looking for a software that has all the tools you need to get into Animation? Well then look no further, as Moho Anime Studio is the perfect software for you to use. What is Moho Anime Studio? Moho Anime Studio is a 2D animation software by the company Smith Software Inc. Moho Anime Studio was first made in the year 1999 by a man called Mike Clifton. This is the 13th Version of Moho Anime Studio, and it has two versions, Pro and a trial version called Moho Debut. Moho Anime Studio comes filled with a wide variety of different tools and features that are designed to help the user create professional and good-looking animations. Moho Anime Studio has an amazing user interface that is extremely well-made and is very helpful for beginners, whilst at the same time not giving up on any functionality. Moho Anime Studio was extremely well received on its release by both the critics and the public and was generally praised for its performance. Moho Anime Studio System Requirements. Moho Anime Studio runs on devices running 64-Bit Windows, that is Windows 7 or higher. At least 4 GB of RAM is required for running Moho Anime Studio smoothly. A 2-GHz or higher processor is required for running Moho Anime Studio. An Open GL 4+ compatible GPU is required for running Moho Anime Studio. Main Features of Moho Anime Studio. -
Free Software Beyond Radical Politics: Negotiations of Creative and Craft Autonomy in Digital Visual Media Production
Free software beyond radical politics: negotiations of creative and craft autonomy in digital visual media production Draft of article under revision. Not to be cited without permission. Version: 15 Jan 2016 Author: Julia Velkova Abstract Free and open source software development, and the technological practices of hackers have been broadly recognized as fundamental for the formation of political cultures and fostering democracy in the digital mediascape. This article seeks to broaden the scope of knowledge about the role of free software for political engagement by discussing its relevance in the practices of other actors, beyond activists and hackers. The study explores its role and uses in the practices of media creators such as free-lancing digital artists, animators and technicians who work in various roles for the contemporary digital visual media industries. Drawing on ethnographically collected material about the media uses of three popular free software tools, Blender for 3D animation and sculpting, Synfig for 2D vector animation and Krita for digital painting, the study shows that free software in the context of media work contexts enables creators to notably extend their sense of creative autonomy, skills and creative expressivity, yet paradoxically this sense does not lead to resistence or critical engagement, but strengthens even more some of the imaginaries and allure that the creative industries have while not responding to some of its major flows such as precarity of labor. Keywords digital visual media, free and open source software, material politics, craft autonomy, media industries 1. Introduction Media practices, such as free and open source software development, and the technological experiments of hackers have been broadly recognized as fundamental for the formation of political cultures and fostering democracy in the digital mediascape. -
Mcro, Inc. V. Bandai Namco Games America Inc., 837 F.3D 1299 (Fed
Case: 19-1557 Document: 88 Page: 1 Filed: 05/20/2020 United States Court of Appeals for the Federal Circuit ______________________ MCRO, INC., DBA PLANET BLUE, Plaintiff-Appellant v. BANDAI NAMCO GAMES AMERICA INC., TREYARCH CORPORATION, Defendants SONY COMPUTER ENTERTAINMENT AMERICA LLC, SUCKER PUNCH PRODUCTIONS, LLC, INFINITY WARD, INC., LUCASARTS, A DIVISION OF LUCASFILM ENTERTAINMENT COMPANY LTD. LLC, ACTIVISION PUBLISHING, INC., BLIZZARD ENTERTAINMENT, INC., NAUGHTY DOG, INC., ELECTRONIC ARTS, INC., DISNEY INTERACTIVE STUDIOS, INC., SQUARE ENIX, INC., Defendants-Appellees ______________________ 2019-1557 ______________________ Appeal from the United States District Court for the Central District of California in Nos. 2:12-cv-10322-GW- FFM, 2:12-cv-10329-GW-FFM, 2:12-cv-10333-GW-FFM, 2:12-cv-10335-GW-FFM, 2:12-cv-10338-GW-FFM, 2:14-cv- 00332-GW-FFM, 2:14-cv-00336-GW-FFM, 2:14-cv-00352- GW-FFM, 2:14-cv-00358-GW-FFM, 2:14-cv-00383-GW- FFM, Judge George H. Wu. Case: 19-1557 Document: 88 Page: 2 Filed: 05/20/2020 2 MCRO, INC. v. BANDAI NAMCO GAMES AMERICA ______________________ Decided: May 20, 2020 ______________________ MARK STEWART RASKIN, King & Wood Mallesons LLP, New York, NY, for plaintiff-appellant. Also represented by MICHAEL DEVINCENZO, JOHN FRANCIS PETRSORIC, ROBERT WHITMAN; MARC AARON FENSTER, PAUL ANTHONY KROEGER, Russ August & Kabat, Los Angeles, CA. JOHN D. GARRETSON, Shook, Hardy & Bacon, LLP, Kansas City, MO, for defendants-appellees Sony Computer Entertainment America LLC, Sucker Punch Productions, LLC, Naughty Dog, Inc. Also represented by BETH A. LARIGAN. SONAL NARESH MEHTA, Wilmer Cutler Pickering Hale and Dorr LLP, Palo Alto, CA, for defendants-appellees In- finity Ward, Inc., Activision Publishing, Inc., Blizzard En- tertainment, Inc., Electronic Arts, Inc. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod. -
The First Dsungaripterid Pterosaur from the Kimmeridgian of Germany and the Biomechanics of Pterosaur Long Bones
The first dsungaripterid pterosaur from the Kimmeridgian of Germany and the biomechanics of pterosaur long bones MICHAEL FASTNACHT Fastnacht, M. 2005. The first dsungaripterid pterosaur from the Kimmeridgian of Germany and the biomechanics of pterosaur long bones. Acta Palaeontologica Polonica 50 (2): 273–288. A partial vertebral column, pelvis and femora of a newly discovered pterosaur are described. The remains from the Upper Jurassic (Kimmeridgian) of Oker (northern Germany) can be identified as belonging to the Dsungaripteridae because the cross−sections of the bones have relatively thick walls. The close resemblance in morphology to the Lower Cretaceous Dsungaripterus allows identification of the specimen as the first and oldest record of dsungaripterids in Central Europe. Fur− thermore, it is the oldest certain record of a dsungaripterid pterosaur world wide. The biomechanical characteristics of the dsungaripterid long bone construction shows that it has less resistance against bending and torsion than in non−dsungari− pteroid pterosaurs, but has greater strength against compression and local buckling. This supports former suggestions that dsungaripterids inhabited continental areas that required an active way of life including frequent take−off and landing phases. The reconstruction of the lever arms of the pelvic musculature and the mobility of the femur indicates a quadrupedal terrestrial locomotion. Key words: Reptilia, Pterosauria, Dsungaripteridae, locomotion, biomechanics, Jurassic, Germany. Michael Fastnacht [fastnach@uni−mainz.de], Palaeontologie, Institut für Geowissenschaften, Johannes Gutenberg− Universität, D−55099 Mainz, Germany. Introduction described from this site (Laven 2001; Mateus et al. 2004; Sander et al. 2004). This and further dinosaur material has In recent years, the northern part of Germany has yielded an been collected by members of the “Verein zur Förderung der increasing number of Upper Jurassic/Lower Cretaceous niedersächsischen Paläontologie e.V.”, who regularly collect archosaurian remains. -
Opentoonz Documentation Выпуск 1.5.0
OpenToonz Documentation Выпуск 1.5.0 OpenToonz апр. 15, 2021 Начало работы: 1 Установка OpenToonz 3 1.1 Скачивание OpenToonz......................................3 1.2 Установка на Windows.......................................3 1.3 Установка на OS X.........................................8 1.4 Установка на Linux......................................... 12 1.5 Installing on FreeBSD........................................ 13 2 Использование FFmpeg с OpenToonz 15 2.1 Что такое FFmpeg?......................................... 15 2.2 Установка FFmpeg для Windows................................. 15 2.3 Установка FFmpeg для Mac.................................... 18 2.4 Установка FFmpeg для Linux................................... 21 3 What’s New in OpenToonz 23 3.1 v1.5.................................................. 23 3.2 Previous Versions of OpenToonz.................................. 25 4 Рабочий процесс производства 27 4.1 Традиционный рабочий процесс................................. 27 4.2 Безбумажный рабочий процесс.................................. 30 5 Обзор интерфейса 35 5.1 Использование комнат....................................... 35 5.2 Панели комнаты.......................................... 38 5.3 Настройка внешнего вида интерфейса.............................. 58 6 Управление проектами 61 6.1 Настройка Projectroot....................................... 61 6.2 Настройка проектов........................................ 64 6.3 Папки проекта по умолчанию................................... 66 6.4 Использование браузера проекта................................ -
Living Through Death in Anime.Pdf (1.612Mb)
by Jordan Trygstad What is Anime? What is Anime? “Japanese cartoons and computer animation (=pictures, films etc produced using a computer)” - Longman English Dictionary Online What is Anime? What is Anime? What is Anime? What is Anime? What is Anime? What is Anime? “a style of animation originating in Japan that is characterized by stark colorful graphics depicting vibrant characters in action-filled plots often with fantastic or futuristic themes” - Merriam-Webster Why Anime? Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm 24 Nights a Semester 72 Hours Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm 24 Nights a Semester 72 Hours 9 Semesters 648 Hours Death in Anime Death in Anime Goals -Understanding Religious Climate Goals -Understanding Religious Climate -Associating Fairy Tales and Myths Goals -Understanding Religious Climate -Associating Fairy Tales and Myths -Applying Psychoanalysis Goals -Understanding Religious Climate -Associating Fairy Tales and Myths -Applying Psychoanalysis Religious Climate -Shinto -Buddhism -Christianity Religious Climate -Shinto -Buddhism • More than 85% (Karan 72-3) • Reincarnation • Bardo -Christianity Limited Time Fullmetal Alchemist: Brotherhood Episode 02 – “The First Day” Mother Revival? “And then something goes terribly wrong.” Revival After Fairy Tales - “White Bird Sister” - “The Elder Sister and the Younger Brother” Stages of Grief - Denial - Anger - Bargaining - Depression - Acceptance Thank You NDSU English Professors and Instructors Dr. Robert O’Connor Dr. Elizabeth Birmingham Works Cited "Anime." Longman English Dictionary Online. N.p., n.d. Web. 29 Nov. 2012. <http://www.ldoceonline.com/dictionary/anime>. "Anime." Merriam-Webster. Merriam-Webster, n.d. Web. 29 Nov. -
Characters and Merchandising Rights
Characters and Merchandising Rights ©2010 Collaborator: Asuka GOMI Patent Attorney, SHIROKUMA PATENT Hiroyuki NAKAGAWA Patent Attorney, Nakagawa International Patent Office Junichiro TSUCHIYA Senior Manager, Licensing Department Rights Division, Kodansha Ltd. CONTENTS Page Introduction ............................................................. 1 Chapter 1 Rights Composing Merchandising Rights ......................... 3 (1) Overview ........................................................... 3 (a) No rights called merchandising rights in place ................ 3 (b) Power to attract customers (customer-attraction power) ......... 4 (c) Rights included within merchandising rights .................... 6 (2) Content of various rights .......................................... 7 (a) Copyrights ..................................................... 8 (b) Design Act .................................................... 14 (c) Trademark Act ................................................. 16 (d) Unfair Competition Prevention Act ............................. 18 Chapter 2 Character Goods and Merchandising Rights ..................... 20 (1) History of merchandising rights ................................... 20 (2) Economic significance of merchandising rights ..................... 21 (a) Merchandising rights in the content-business .................. 21 (b) Merchandising rights to the mascot logo related to goods ...... 22 (c) Merchandising rights to industrial products ................... 22 (3) Merchandising rights and the media-mix strategy.................