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Subdivision Surfaces Years of Experience at Pixar
Subdivision Surfaces Years of Experience at Pixar - Recursively Generated B-Spline Surfaces on Arbitrary Topological Meshes Ed Catmull, Jim Clark 1978 Computer-Aided Design - Subdivision Surfaces in Character Animation Tony DeRose, Michael Kass, Tien Truong 1998 SIGGRAPH Proceedings - Feature Adaptive GPU Rendering of Catmull-Clark Subdivision Surfaces Matthias Niessner, Charles Loop, Mark Meyer, Tony DeRose 2012 ACM Transactions on Graphics Subdivision Advantages • Flexible Mesh Topology • Efficient Representation for Smooth Shapes • Semi-Sharp Creases for Fine Detail and Hard Surfaces • Open Source – Beta Available Now • It’s What We Use – Robust and Fast • Pixar Granting License to Necessary Subdivision Patents graphics.pixar.com Consistency • Exactly Matches RenderMan Internal Data Structures and Algorithms are the Same • Full Implementation Semi-Sharp Creases, Boundary Interpolation, Hierarchical Edits • Use OpenSubdiv for Your Projects! Custom and Third Party Animation, Modeling, and Painting Applications Performance • GPU Compute and GPU Tessellation • CUDA, OpenCL, GLSL, OpenMP • Linux, Windows, OS X • Insert Prman doc + hierarchical viewer GPU Performance • We use CUDA internally • Best Performance on CUDA and Kepler • NVIDIA Linux Profiling Tools OpenSubdiv On GPU Subdivision Mesh Topology Points CPU Subdivision VBO Tables GPU Patches Refine CUDA Kernels Tessellation Draw Improved Workflows • True Limit Surface Display • Interactive Manipulation • Animate While Displaying Full Surface Detail • New Sculpt and Paint Possibilities Sculpting & Ptex • Sculpt with Mudbox • Export to Ptex • Render with RenderMan • Insert toad demo Sculpt & Animate Too ! • OpenSubdiv Supports Ptex • OpenSubdiv Matches RenderMan • Enables Interactive Deformation • Insert rendered toad clip graphics.pixar.com Feature Adaptive GPU Rendering of Catmull-Clark Subdivision Surfaces Thursday – 2:00 pm Room 408a . -
From Snow White to Frozen
From Snow White to Frozen An evaluation of popular gender representation indicators applied to Disney’s princess films __________________________________________________ En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmer __________________________________________________ Johan Nyh __________________________________________________ Faculty: The Institution for Geography, Media and Communication __________________________________________________ Subject: Film studies __________________________________________________ Points: 15hp Master thesis __________________________________________________ Supervisor: Patrik Sjöberg __________________________________________________ Examiner: John Sundholm __________________________________________________ Date: June 25th, 2015 __________________________________________________ Serial number: __________________________________________________ Abstract Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. -
Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back. -
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Tangled Study Notes Disney Studios Motion Pictures ©Walt
Tangled Study Notes Pictures Motion Studios Disney ©Walt Directed by: Nathan Greno and Byron Howard Certificate: PG (contains mild violence, threat and brief sight of blood) Running time: 108 mins Release date: 21 January 2011 Synopsis: Disney presents a new twist on one of the most hair-raising tales ever told. When the kingdom’s most wanted – and most charming – bandit Flynn Rider hides in a mysterious tower, the last thing he expects to find is Rapunzel, a spirited teen with an unlikely superpower – 70 feet of magical golden hair! Together, the unlikely duo sets off on a fantastic journey filled with surprising heroes, laughter and suspense. (Disney.go.com/disneypictures/tangled) The activities in these Study Notes address aspects of the curriculum for Literacy, Drama, Maths (24 hour clocks and timetabling, Year 5) and Art for pupils aged 5-11. 1 www.filmeducation.org www.nationalschoolsfilmweek.org ©Film Education July 2011. Film Education is not responsible for the content of external websites. Before seeing the film 1. The long-haired heroine of Tangled, Rapunzel, has grown up grounded. She lives in a tower in the middle of a forest. She dreams of being able to escape from her tower for just one day. If you were able to take her out for one day, what would you show her? Choose carefully, as you only have one day. Timetable your day, showing how you would structure your activities with Rapunzel. 2. The actors behind the animation in Tangled had the task of bringing the character to life using just their voices. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
The Effects of Disney Princess Movies on Girls
The Effects of Disney Princess Movies on Girls By Camille Porter-Phillips Eighth grade project research paper Hilltown Cooperative Charter Public School June 2014 1 Introduction Personally, before this project, I thought that the Disney princesses were foolish. People have been watching Disney movies for nearly 100 years and through the course of this project I realized that they are actually really foolish and my beliefs were affirmed. Since the Walt Disney company started in 1923 (Gillies), its movies have become very widespread and pervasive. My question is, have Disney princess movies affected girls? In this essay I will show that watching princess movies affects girls’ independence and body image. I will first give a background of Disney and their princesses, then show how the princess films might affect girls and then describe how to evaluate them. Background The first princess movie the Walt Disney company produced was Snow White, in 1937. It was the first animated feature film to come out of the0 U.S. (Disney). Next came Cinderella, in 1950. Then Sleeping Beauty in 1959. Thirty years later in 1989 The Little Mermaid came out. Then in 1991 Beauty and the Beast. The very next year in 1992 Aladdin came to theaters. Then Pocahontas, in 1995. But this was not the last one, more and more princess movies are produced by Disney every few years. Snow White is about a girl who runs away from an evil queen because the queen wants to kill Snow White. When she meets 12 dwarfs she is happy to cook and take care of them. -
How Disney's Hercules Fails to Go the Distance
Article Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance Cassandra Primo Departments of Business and Sociology, McDaniel College, Westminster, MD 21157, USA; [email protected] Received: 26 September 2018; Accepted: 14 November; Published: 16 November 2018 Abstract: Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes. Keywords: gender stereotypes; sexuality; heroism; hypermasculinity; selflessness; Hercules; Zeus; Megara 1. Introduction Disney’s influence in children’s entertainment has resulted in the scrutiny of gender stereotypes in its films (Do Rozario 2004; Dundes et al. 2018; England et al. 2011; Giroux and Pollock 2010). Disney’s Hercules (1997), however, has been largely overlooked in academic literature exploring the evolution of gender portrayals by the media giant. The animated film is a modernization of the classic myth in which the eponymous hero is a physically intimidating protagonist that epitomizes manhood. -
Redefining Gender in Disney Films from the 20Th to 21St Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019
Alshabasy 1 "A Whole New World": Redefining Gender in Disney Films from the 20th to 21st Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019 Alshabasy 2 The Disney Dynasty is as familiar to American culture as apple pie. Sitting on land that is twice the size of Manhattan, the Disney Kingdom has expanded over the years to create a whole new world; a world seriously considered by cultural theorists like Baudrillard, as a simulacrum, a symbol so close to reality that it becomes hyperreality. Before water parks and resort hotels, before Disney bought out the land of orange groves and walnut trees in Anaheim, California, the Magic Kingdom began its conquest on American ideology. The Walt Disney Company started in 1923 as “The Disney Brothers Cartoon Studio,” and churned out films that embodied American ideals. Oftentimes, these films were set in 19th century rural America and featured an American hero -- usually Mickey Mouse, who could outwork and challenge any enemy big or small with his bravery. An embodiment of American ideals, Disney films became loved and endeared by audiences during morally depleting times, like the Depression years (“How Disney Came to Define What Constitutes the American Experience”). Audiences latched onto these ideals, seemingly stable, even when external factors were not. In 1938, Disney shifted gears into feature films with his vision of Snow White and the Seven Dwarfs. Although many had their doubts, after three years of work Snow White was released and it quickly became the highest grossing film of all time. Feature films became the money makers for Disney and the start of consumer fascination with Disney culture (“Disney Animation Is Closing the Book on Fairy Tales”). -
Discourse Analysis of Ethical Challenges in Mulan Disney Princess Movie
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 7, Issue 1, Jan 2019, 431-442 © Impact Journals DISCOURSE ANALYSIS OF ETHICAL CHALLENGES IN MULAN DISNEY PRINCESS MOVIE Farah Abdul-Jabbar Almnaseer 1 & Kawther Adnan Saleh 2 1Senior Assistant Professor, Department of English Language and Literature, Al-Mustansiriyah University, Baghdad, Iraq 2Researcher, Department of English Language and Literature, Al-Mustansiriyah University, Baghdad, Iraq Received: 10 Jan 2019 Accepted: 28 Jan 2019 Published: 31 Jan 2019 ABSTRACT Movies are one of the most favorable types of media which play a great role in shaping our daily lives. Also, they hold a huge impact on both children and adult in the whole word. Due to this importance, the present study shades the light on Mulan (1998) Disney princess animated movie which is highly seen by the audience. It seeks to analyze the verses of one of the movie's songs which is entitled " you'll bring honor to us all ". The article tends to analyze the types and the frequency of the different categories of lexical cohesion. For this purpose, Tanskanen's (2006) model of lexical cohesion is adopted for the analysis. The analysis revealed 42 lexical cohesive devices. The article reaches the conclusions that simple repetition is highly used among the other types and especially the repetition of the pronoun "you" in order to indicate that the honor of Mulan's family is based on her, since their cultural norms force the girl to be like " a perfect porcelain doll " in order to impress men and this in return will bring honor to the family. -
The Metaverse and Digital Realities Transcript Introduction Plenary
[Scientific Innovation Series 9] The Metaverse and Digital Realities Transcript Date: 08/27/2021 (Released) Editors: Ji Soo KIM, Jooseop LEE, Youwon PARK Introduction Yongtaek HONG: Welcome to the Chey Institute’s Scientific Innovation Series. Today, in the 9th iteration of the series, we focus on the Metaverse and Digital Realities. I am Yongtaek Hong, a Professor of Electrical and Computer Engineering at Seoul National University. I am particularly excited to moderate today’s webinar with the leading experts and scholars on the metaverse, a buzzword that has especially gained momentum during the online-everything shift of the pandemic. Today, we have Dr. Michael Kass and Dr. Douglas Lanman joining us from the United States. And we have Professor Byoungho Lee and Professor Woontack Woo joining us from Korea. Now, I will introduce you to our opening Plenary Speaker. Dr. Michael Kass is a senior distinguished engineer at NVIDIA and the overall software architect of NVIDIA Omniverse, NVIDIA’s platform and pipeline for collaborative 3D content creation based on USD. He is also the recipient of distinguished awards, including the 2005 Scientific and Technical Academy Award and the 2009 SIGGRAPH Computer Graphics Achievement Award. Plenary Session Michael KASS: So, my name is Michael Kass. I'm a distinguished engineer from NVIDIA. And today we'll be talking about NVIDIA's view of the metaverse and how we need an open metaverse. And we believe that the core of that metaverse should be USD, Pixar's Universal Theme Description. Now, I don't think I have to really do much to introduce the metaverse to this group, but the original name goes back to Neal Stephenson's novel Snow Crash in 1992, and the original idea probably goes back further.