BTEC Firsts Award/Certificate/Diploma L2 2010
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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. -
Breathtaking Stories of Extreme Filming. Read the Full Story on Page 6
The newspaper for BBC pensioners - with highlights from Ariel Heights, Camera, Action Breathtaking stories of extreme filming. Read the full story on page 6. June 2011 • Issue 4 Yes, Prime Lord Patten Minister back takes the helm Sounds better? on stage Page 2 Page 7 Page 12 NEWS • LifE aftEr auNtiE • CLaSSifiEdS • Your LEttErS • obituariES • CroSPEro 02 uPdatE froM thE bbC Patten takes helm at BBC Trust On 3 May, Lord Patten began his appointment as chairman of the BBC Trust – with an interesting first day spent taking questions from staff in a ringmain session. Quality First) should be all about and I hope we’ll be able to discuss options with the Executive during the summer.’ 2011 pay offer It is also apparent that the new chairman is ready and willing to deal with the – an update repercussions of the less popular decisions to be taken, and those which will not always Further to requests by the unions for all be accepted gladly by the licence fee payer. staff in bands 2-11 to be awarded a pay ‘I hope we won’t be talking about closing increase which is ‘substantially above services but, whatever we are talking about inflation’, the BBC has offered a 2% doing, if the Trust and the Executive are increase – which falls far short of the agreed it is the best way of using the money Retail Prices Index (RPI) figures on which then we have to stand by the consequences. If it is intended to be based (5.2% as at that involves answering thousands of emails, April 2011). -
BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir
London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation. -
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) 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
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). -
Downloadable Text (Finkelstein and Mccleery 2006, 1)
A Book History Study of Michael Radford’s Filmic Production William Shakespeare’s The Merchant of Venice A thesis submitted in fulfilment of the requirements for the degree of MASTER OF ARTS of RHODES UNIVERSITY by BRYONY ROSE HUMPHRIES GREEN March 2008 ABSTRACT Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice . Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film. ii ACKNOWLEDGEMENTS I want to thank the Mandela Rhodes Foundation for the funding that allowed me to undertake a Master’s degree. -
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. -
We Need to Talk About Subsidy: Television and the UK Film Industry – a Thirty-Year Relationship
We Need To Talk About Subsidy: Television and the UK film industry – a thirty-year relationship. I want to conclude this panel by taking a broader perspective on the concept of film subsidy, as deployed by Film4 and BBC Films, respectively the film production arms of the UK’s major public broadcasters Channel 4 and the BBC. As well as indicating the distinctive features of this model within the economic structure of the UK film industry, the paper will offer some consideration of the kind of film product these interventions has tended to produce. It will conclude with an assessment of the strengths and weaknesses of what I want to call the cultural subsidy model of film production, and raise some general questions arising from the relationship between the film and television industries. In 2010, having been producing feature films in one form or another for twenty years, the BBC (the UK’s unique flagship PSB), produced its first explicit film strategy: ‘There are three principal public sector bodies which support film: BBC Films, Film4 (part of Channel 4) and UK Film Council (UKFC) (now merged with BFI)… This set up has provided the British film industry with stability and plurality which has been very important in the development and sustainability of the industry over the last decade’ (BBC Films Strategy, 2010). The confidence with which it trumpeted its own role in contributing ‘stability and plurality’ to the British film industry belied its protracted soul-searching about whether cinema was something the licence fee should really be spent on. Long-held anxiety within the Corporation that the licence levied on every household that owns a TV set should be spent on television content rather than movies the public has to pay again to see at the cinema, characterised the BBC’s ambivalence about following the film sponsorship model pioneered by Channel 4 from 1982. -
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]. -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
September/October 2014 at BFI Southbank
September/October 2014 at BFI Southbank Al Pacino in Conversation with Salome & Wilde Salome, Jim Jarmusch and Friends, Peter Lorre, Night Will Fall, The Wednesday Play at 50 and Fela Kuti Al Pacino’s Salomé and Wilde Salomé based on Oscar Wilde’s play, will screen at BFI Southbank on Sunday 21 September and followed by a Q&A with Academy Award winner Al Pacino and Academy Award nominee Jessica Chastain that will be broadcast live via satellite to cinemas across the UK and Ireland. This unique event will be hosted by Stephen Fry. Jim Jarmusch was one of the key filmmakers involved in the US indie scene that flourished from the mid-70s to the late 90s. He has succeeded in remaining true to the spirit of independence, with films such as Stranger Than Paradise (1984), Dead Man (1995) and, most recently, Only Lovers Left Alive (2013). With the re-release of Down By Law (1986) as a centrepiece for the season, we will also look at films that have inspired Jarmusch A Century of Chinese Cinema: New Directions will celebrate the sexy, provocative and daring work by acclaimed contemporary filmmakers such as Wong Kar-wai, Jia Zhangke, Wang Xiaoshuai and Tsai Ming-liang. These directors built on the innovations of the New Wave era and sparked a renewed global interest in Chinese cinema into the new millennium André Singer’s powerful new documentary Night Will Fall (2014) reveals for the first time the liberation of the Nazi concentration camps and the efforts made by army and newsreel cameramen to document the almost unbelievable scenes encountered there.