Computerthe MAGAZINE for DIGITAL CONTENT CREATION and PRODUCTION
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Making a Game Character Move
Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future. -
Elenco Film Dal 2015 Al 2020
7 Minuti Regia: Michele Placido Cast: Cristiana Capotondi, Violante Placido, Ambra Angiolini, Ottavia Piccolo Genere: Drammatico Distributore: Koch Media Srl Uscita: 03 novembre 2016 7 Sconosciuti Al El Royale Regia: Drew Goddard Cast: Chris Hemsworth, Dakota Johnson, Jeff Bridges, Nick Offerman, Cailee Spaeny Genere: Thriller Distributore: 20th Century Fox Uscita: 25 ottobre 2018 7 Uomini A Mollo Regia: Gilles Lellouche Cast: Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde, Jean-hugues Anglade Genere: Commedia Distributore: Eagle Pictures Uscita: 20 dicembre 2018 '71 Regia: Yann Demange Cast: Jack O'connell, Sam Reid Genere: Thriller Distributore: Good Films Srl Uscita: 09 luglio 2015 77 Giorni Regia: Hantang Zhao Cast: Hantang Zhao, Yiyan Jiang Genere: Avventura Distributore: Mescalito Uscita: 15 maggio 2018 87 Ore Regia: Costanza Quatriglio Genere: Documentario Distributore: Cineama Uscita: 19 novembre 2015 A Beautiful Day Regia: Lynne Ramsay Cast: Joaquin Phoenix, Alessandro Nivola, Alex Manette, John Doman, Judith Roberts Genere: Thriller Distributore: Europictures Srl Uscita: 01 maggio 2018 A Bigger Splash Regia: Luca Guadagnino Cast: Ralph Fiennes, Dakota Johnson Genere: Drammatico Distributore: Lucky Red Uscita: 26 novembre 2015 3 Generations - Una Famiglia Quasi Perfetta Regia: Gaby Dellal Cast: Elle Fanning, Naomi Watts, Susan Sarandon, Tate Donovan, Maria Dizzia Genere: Commedia Distributore: Videa S.p.a. Uscita: 24 novembre 2016 40 Sono I Nuovi 20 Regia: Hallie Meyers-shyer Cast: Reese Witherspoon, Michael Sheen, Candice -
King Kong Went Through Animation
2 April 2008 designed a lot of the action sequences in the Oscar winner film. It was again not a simple process since there were a lot of conflicts of inteest on how to achieve the creative, hence we talks on the making of created an animated character. The footage of actual Guerrilla moments were taken from various zoos to perfect the facial system. Every motion capture shot in King Kong went through animation. Hence the King Kong MoCap has a very crucial role to play. The climax scene of the film, Christian Rivers joins a where King Kong dies, was well appreciated from all long list of illustrious visitors quarters of the industry and to Chennai based Animation wondered how the shot was and Visual Effects College - approached. It was a simple Image College of Arts, but a detailed approach when Animation & Technology we made the light in the pupil (ICAT). ICAT which offers of the eyes of King Kong Degree and Post Graduate diffused in other words we programs in Animation, made the audience to believe Visual Effects, Game Design by creating the dryness on the and Game programming has eyes to express it was dead." been bringing outstanding members from the Academic Apart from the character, and Professional segment to another amazing visual effects share their expertise with its shot in King Kong was the students. creation of New York City in 1933. A lot of research was Christian Rivers is an done in this regard, with Academy Award and BAFTA Seminar by "King Kong" maker Christian Rivers archival photographs being procured and winning New Zealand visual effects art many debates over the look of the creating buildings which were present only director and filmmaker. -
Rotobot Openfx Plugin Documentation Release 1.4.0 Sam
Rotobot OpenFX Plugin Documentation Release 1.4.0 Sam Hodge May 30, 2020 Contents: 1 Frequenty Asked Questions (FAQs)1 1.1 How accurate is Rotobot?........................................1 1.2 Why is it so slow?............................................1 1.3 What is the colour space to get the best detection?...........................1 1.4 Why does my 5K image take so long?..................................2 1.5 How do I install Rotobot?........................................2 1.6 What is that glitch?............................................2 1.7 How do I install a license?........................................2 2 User Guides 3 2.1 Rotobot Segmentation..........................................3 2.2 Rotobot Instance Segmentation.....................................3 2.3 Rotobot Person..............................................3 2.3.1 Input and Output are RGB and RGBA.............................4 2.3.2 Input Colorspace........................................4 2.4 Create a mask using Rotobot Segmentation...............................4 2.5 Isolate and seperate an indivdual using Rotobot Instance Segmentation................5 2.6 Create a soft mask using Trimap.....................................5 3 System Adminstration Docs 7 3.1 Functional description..........................................7 3.1.1 Details of OpenFX Plugins...................................7 3.1.2 Caching of computation....................................8 3.1.3 Details of CUDA compatibility.................................8 3.1.3.1 CUDA Toolkit is installed -
An Overview of 3D Data Content, File Formats and Viewers
Technical Report: isda08-002 Image Spatial Data Analysis Group National Center for Supercomputing Applications 1205 W Clark, Urbana, IL 61801 An Overview of 3D Data Content, File Formats and Viewers Kenton McHenry and Peter Bajcsy National Center for Supercomputing Applications University of Illinois at Urbana-Champaign, Urbana, IL {mchenry,pbajcsy}@ncsa.uiuc.edu October 31, 2008 Abstract This report presents an overview of 3D data content, 3D file formats and 3D viewers. It attempts to enumerate the past and current file formats used for storing 3D data and several software packages for viewing 3D data. The report also provides more specific details on a subset of file formats, as well as several pointers to existing 3D data sets. This overview serves as a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D data files. 1 Introduction 3D data represents information in several applications, such as medicine, structural engineering, the automobile industry, and architecture, the military, cultural heritage, and so on [6]. There is a gamut of problems related to 3D data acquisition, representation, storage, retrieval, comparison and rendering due to the lack of standard definitions of 3D data content, data structures in memory and file formats on disk, as well as rendering implementations. We performed an overview of 3D data content, file formats and viewers in order to build a foundation for understanding the information loss introduced by 3D file format conversions with many of the software packages designed for viewing and converting 3D files. -
Lo Hobbit-La Desolazione Di Smaug PB-ITA
New Line Cinema e Metro-Goldwyn-Mayer Pictures Presentano Una Produzione Wingnuts Film Ian McKellen Martin Freeman Richard Armitage Benedict Cumberbatch Evangeline Lilly Lee Pace Luke Evans Ken Stott James Nesbitt e Orlando Bloom nel ruolo di ‘Legolas’ Musiche Howard Shore Co-prodotto da Philippa Boyens Eileen Moran Armi, Creature e Trucco Effetti Speciali Weta Workshop Ltd. Effetti visivi e animazioni Weta Digital Ltd. Supervisone Effetti Visivi Joe Lettieri Montaggio Jabez Olssen Scenografie Dan Hennah Direttore della fotografia Andrew Lesine Acs,Asc Produttori esecutivi Alan Horn Toby Emmerich Ken Kamis Carolyn Blackwood Prodotto da Carolynne Cunningham Zane Weiner Fran Walsh Peter Jackson Basato su un romanzo di J.R.R. Tolkien Sceneggiatura Fran Walsh Philippa Boyens Peter Jackson Guillermo Del Toro Diretto da Peter Jackson Durata: 2 ore e 41 minuti Sito: www.HobbitIlFilm.it FB: https://www.facebook.com/LoHobbitIlfilm Twitter: https://twitter.com/lohobbitfilm YouTube: http://www.youtube.com/warnerbrostrailers I materiali sono a disposizione sul sito “Warner Bros. Media Pass”, al seguente indirizzo: https://mediapass.warnerbros.com Dal 12 Dicembre al Cinema Distribuzione: WARNER BROS. ENTERTAINMENT ITALIA Ufficio Stampa Warner Bros. Entertainment Italia Riccardo Tinnirello: [email protected] Emanuela Semeraro: [email protected] Cinzia Fabiani: [email protected] Antonio Viespoli: [email protected] Dal regista premio Oscar® Peter Jackson arriva, “Lo Hobbit: La Desolazione di Smaug” il secondo film della trilogia dall’adattamento del popolare capolavoro senza tempo, The Hobbit, di J.R.R. Tolkien. I tre film narrano la storia ambientata nella Terra di Mezzo, 60 anni prima di “Il Signore degli Anelli” portato in scena sul grande schermo da Jackson e dal suo team, una trilogia campione d’incassi culminata con la vittoria dell’Oscar® di “Il Signore degli Anelli: Il Ritorno del Re”. -
Guide to Graphics Software Tools
Jim x. ehen With contributions by Chunyang Chen, Nanyang Yu, Yanlin Luo, Yanling Liu and Zhigeng Pan Guide to Graphics Software Tools Second edition ~ Springer Contents Pre~ace ---------------------- - ----- - -v Chapter 1 Objects and Models 1.1 Graphics Models and Libraries ------- 1 1.2 OpenGL Programming 2 Understanding Example 1.1 3 1.3 Frame Buffer, Scan-conversion, and Clipping ----- 5 Scan-converting Lines 6 Scan-converting Circles and Other Curves 11 Scan-converting Triangles and Polygons 11 Scan-converting Characters 16 Clipping 16 1.4 Attributes and Antialiasing ------------- -17 Area Sampling 17 Antialiasing a Line with Weighted Area Sampling 18 1.5 Double-bl{tferingfor Animation - 21 1.6 Review Questions ------- - -26 X Contents 1.7 Programming Assignments - - -------- - -- 27 Chapter 2 Transformation and Viewing 2.1 Geometrie Transformation ----- 29 2.2 2D Transformation ---- - ---- - 30 20 Translation 30 20 Rotation 31 20 Scaling 32 Composition of2D Transformations 33 2.3 3D Transformation and Hidden-surjaee Removal -- - 38 3D Translation, Rotation, and Scaling 38 Transfonnation in OpenGL 40 Hidden-surface Remova! 45 Collision Oetection 46 30 Models: Cone, Cylinder, and Sphere 46 Composition of30 Transfonnations 51 2.4 Viewing ----- - 56 20 Viewing 56 30 Viewing 57 30 Clipping Against a Cube 61 Clipping Against an Arbitrary Plane 62 An Example ofViewing in OpenGL 62 2.5 Review Questions 65 2.6 Programming Assignments 67 Chapter 3 Color andLighting 3.1 Color -------- - - 69 RGß Mode and Index Mode 70 Eye Characteristics and -
Flowcaster Manual 1 Table of Contents
FlowCaster Copyright 2020-2021 Drastic Technologies Ltd. All Rights Reserved. Version: April 22nd, 2021 FlowCaster Manual 1 Table of Contents 1 Introduction.........................................................................................................................................4 2 WorkFlows..........................................................................................................................................5 2.1 Work from home/cloud/remote monitoring...................................................................................5 2.2 Production team sharing/collaboration........................................................................................5 2.3 Cloud production or capture feed................................................................................................5 2.4 IP format conversion...................................................................................................................6 2.5 Cloud to cloud.............................................................................................................................6 3 Quick Start – SRT/RTP/UDP..............................................................................................................7 4 Quick Start – RTMP..........................................................................................................................14 5 FlowCaster Configuration.................................................................................................................22 6 Adobe.............................................................................................................................................. -
Appendix a Basic Mathematics for 3D Computer Graphics
Appendix A Basic Mathematics for 3D Computer Graphics A.1 Vector Operations (),, A vector v is a represented as v1 v2 v3 , which has a length and direction. The location of a vector is actually undefined. We can consider it is parallel to the line (),, (),, from origin to a 3D point v. If we use two points A1 A2 A3 and B1 B2 B3 to (),, represent a vector AB, then AB = B1 – A1 B2 – A2 B3 – A3 , which is again parallel (),, to the line from origin to B1 – A1 B2 – A2 B3 – A3 . We can consider a vector as a ray from a starting point to an end point. However, the two points really specify a length and a direction. This vector is equivalent to any other vectors with the same length and direction. A.1.1 The Length and Direction The length of v is a scalar value as follows: 2 2 2 v = v1 ++v2 v3 . (EQ 1) 378 Appendix A The direction of the vector, which can be represented with a unit vector with length equal to one, is: ⎛⎞v1 v2 v3 normalize()v = ⎜⎟--------,,-------- -------- . (EQ 2) ⎝⎠v1 v2 v3 That is, when we normalize a vector, we find its corresponding unit vector. If we consider the vector as a point, then the vector direction is from the origin to that point. A.1.2 Addition and Subtraction (),, (),, If we have two points A1 A2 A3 and B1 B2 B3 to represent two vectors A and B, then you can consider they are vectors from the origin to the points. -
5 Opengl Programming in Java: JOGL
Guide to Graphics Software Tools Jim X. Chen With contributions by Chunyang Chen, Nanyang Yu, Yanlin Luo, Yanling Liu and Zhigeng Pan Guide to Graphics Software Tools Second edition Jim X. Chen Computer Graphics Laboratory George Mason University Mailstop 4A5 Fairfax, VA 22030 USA [email protected] ISBN: 978-1-84800-900-4 e-ISBN: 978-1-84800-901-1 DOI 10.1007/978-1-84800-901-1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Control Number: 2008937209 © Springer-Verlag London Limited 2002, 2008 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant laws and regulations and therefore free for general use. The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made. Printed on acid-free paper Springer Science+Business Media springer.com Preface Many scientists in different disciplines realize the power of graphics, but are also bewildered by the complex implementations of a graphics system and numerous graphics tools. -
Guide to Graphics Software Tools
Guide to Graphics Software Tools Jim X. Chen With contributions by Chunyang Chen, Nanyang Yu, Yanlin Luo, Yanling Liu and Zhigeng Pan Guide to Graphics Software Tools Second edition Jim X. Chen Computer Graphics Laboratory George Mason University Mailstop 4A5 Fairfax, VA 22030 USA [email protected] ISBN: 978-1-84800-900-4 e-ISBN: 978-1-84800-901-1 DOI 10.1007/978-1-84800-901-1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Control Number: 2008937209 © Springer-Verlag London Limited 2002, 2008 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant laws and regulations and therefore free for general use. The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made. Printed on acid-free paper Springer Science+Business Media springer.com Preface Many scientists in different disciplines realize the power of graphics, but are also bewildered by the complex implementations of a graphics system and numerous graphics tools. -
Chapter Number
Chapter Number The Role of Computer Games Industry and Open Source Philosophy in the Creation of Affordable Virtual Heritage Solutions Andrea Bottino and Andrea Martina Dipartimento di Automatica e Informatica, Politecnico di Torino Italy 1. Introduction The Museum, according to the ICOM’s (International Council of Museums) definition, is a non-profit, permanent institution […] which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment (ICOM, 2007). Its main function is therefore to communicate the research results to the public and the way to communicate must meet the expectations of the reference audience, using the most appropriate tools available. During the last decades of 20th century, there has been a substantial change in this role, according to the evolution of culture, literacy and society. Hence, over the last decades, the museum’s focus has shifted from the aesthetic value of museum artifacts to the historical and artistic information they encompass (Hooper-Greenhill, 2000), while the museums’ role has changed from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These changes require creating new exhibits, able to tell stories about the objects, enabling visitors to construct semantic meanings around them (Hoptman, 1992). The objective that museums pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’ (Packer, 2006).