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Fuwaku No Adagio] Friday 8 October at 9:30Pm
AUTUMN ADAGIO [FUWAKU NO ADAGIO] FRIDAY 8 OCTOBER AT 9:30PM A nun going through her menopause might sound like the punch-line of a joke you wouldn’t tell your mum, but Tsuki Inoue’s disarmingly beautiful film Autumn Adagio takes what could have so easily been a premise ripe for exploitation and makes from it a profoundly moving and utterly restrained masterpiece. Mariko, who is first seen absent-mindedly plucking the stamen from a bouquet of lilies, lives a cloistered, routine life. One day, confused by the way she is feeling, she takes a leap of faith and volunteers to play the piano for the local ballet school. Whilst working she becomes entranced by the instructor’s graceful movements in a scene that is both gently surreal and quietly erotic. Although she plays well, the instructor tries to encourage her to put more of herself into the music. Moriko, who has spent her life repressing her sexuality and emotions, decides to let them out for a short time before they are lost forever and we can’t help but be swept along with her new enthusiasm. From then on the film is by turns disturbing, tragic and uplifting as she learns to reengage with the world. More and more we start to see her without her habit, and the change is striking. The tension between religion and sexuality has been explored in many films, but rarely has it been handled with such sensitivity. DB Country Japan Running Time 70 mins Format HDCam Director/Producer/ Screenplay Tsuki Inoue DoP Yosuke Omori Cast Rei Shibakusa, Peyton Chiba, Takuo Shibuya Print Source Dongyu Email [email protected] 104 18TH RAINDANCE FILM FESTIVAL BOYS ON THE RUN [BOIZU ON ZA RAN] FRIDAY 1 OCTOBER AT 6:30PM Boys on the Run stars Kazunobu Mineta (frontman for punk-rock band Ging Nang Boyz) as Tanishi, a 29-year-old virgin stuck in a menial position at a failing company. -
Building Pedagogical Curb Cuts: Incorporating Disability in the University Classroom and Curriculum 4105-11 SU 4/1/05 3:50 PM Page 4
4105-11_SU 4/1/05 3:50 PM Page 3 Building Pedagogical Curb Cuts: Incorporating Disability in the University Classroom and Curriculum 4105-11_SU 4/1/05 3:50 PM Page 4 Copyright 2005© The Graduate School, Syracuse University. For more information about this publication, contact: The Graduate School Syracuse University 423 Bowne Hall Syracuse, New York 13244. 4105-11_SU 4/1/05 3:50 PM Page 5 v Contents Acknowledgements vii Chancellor’s Preface ix Editors’ Introduction xi I. Incorporating Disability in the Curriculum Mainstreaming Disability: A Case in Bioethics 3 Anita Ho Language Barriers and Barriers to Language: Disability 11 in the Foreign Language Classroom Elizabeth Hamilton and Tammy Berberi Including Women with Disabilities in Women and 21 Disability Studies Maria Barile Seeing Double 33 Ann Millett Cinematically Challenged: Using Film in Class 43 Mia Feldbaum and Zach Rossetti “Krazy Kripples”: Using South Park to Talk 67 about Disability Julia White Teaching for Social Change 77 Kathy Kniepmann II. Designing Instruction for Everyone Nothing Special: Becoming a Good Teacher for All 89 Zach Rossetti and Christy Ashby 4105-11_SU 4/1/05 3:50 PM Page 6 vi contents Tools for Universal Instruction 101 Thomas Argondizza “Lame Idea”: Disabling Language in the Classroom 107 Liat Ben-Moshe Learning from Each Other: Syracuse University 117 and the OnCampus Program Cheryl G. Najarian and Michele Paetow III. Students with Disabilities in the Classroom Being an Ally 131 Katrina Arndt and Pat English-Sand Adapting and “Passing”: My Experiences as a 139 Graduate Student with Multiple Invisible Disabilities Elizabeth Sierra-Zarella “We’re not Stupid”: My College Years 147 as a Mentally Challenged Student Anthony J. -
Ipi Soft Motion Capture Software Inspires Feature Length Machinima
iPi Soft Motion Capture Software Inspires Feature Length Machinima Horror Movie Ticket Zer0 Director Ian Chisholm Uses End-to-End Markerless Performance Capture Pipeline For Character Animation; Film Now Airing on YouTube _____ MOSCOW, RUSSIA – September 25, 2018 – For his most ambitious project to date, the feature length horror film Ticket Zer0, motion capture director/writer Ian Chisholm once again leaned heavily on iPi Motion Capture, the advanced markerless motion capture technology from iPi Soft. The 66-minute animated machinima cinematic production is currently available for streaming on YouTube or Blu-Ray here. Ticket Zer0 is a follow-up to Chisholm’s Clear Skies trilogy series (viewed by hundreds of thousands on YouTube), which also used iPi Mocap throughout for performance capture. Ticket Zer0 tells the story of the night shift at a deserted industrial facility. When a troubleshooter is sent in to fix a mysterious problem, something far more sinister emerges than any of them could have imagined. Chisholm notes production for Ticket Zer0 took almost five years to complete and used iPi Motion Capture for recording movement in every single frame for all the characters in the film. “iPi Soft technology has proven to be an invaluable creative resource for me as a filmmaker during motion capture sessions,” he says. “There wasn't anything on screen that wasn't recorded by iPi Mocap. The ability to perform the motion capture was exactly what I needed to expand and improve the immersive quality of my film.” Workflow Details: For motion capture production, Chisholm used iPi Mocap in conjunction with six Sony PS3 Eye cameras along with two PlayStation Move controllers to track hand movements. -
Review of the Scottish Animation Sector
__ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344 -
Application of Performance Motion Capture Technology in Film and Television Performance Animation
Proceedings of the 2nd International Symposium on Computer, Communication, Control and Automation (ISCCCA-13) Application of Performance Motion Capture Technology in Film and Television Performance Animation ZHANG Manyu Dept. Animation of Art, Tianjin Academy of Fine Arts Tianjin , CHINA E-mail: [email protected] Abstract—In today’s animation films, virtual character tissue simulation technique” for the first time, so that acting animation is a research field developing rapidly in computer skills of actors can be delivered to viewers maximally. graphics, and motion capture is the most significant What’s more, people realize that “motion capture component, which has brought about revolutionary change for technology” shall be called as “performance capture 3D animation production technology. It makes that animation technology” increasingly. Orangutan Caesar presented in producers are able to drive animation image models directly with the use of actors’ performance actions and expressions, Rise of the Apes through “motion capture” technology is which has simplified animation manufacturing operation very classical. Various complicated and subtle expressions greatly and enhanced quality for animation production. and body languages of Caesar’s not vanished bestiality and initially emerged human nature have been presented Keywords- film and television films, motion capture, naturally and freshly in the film, which has achieved the technology excellent realm of mixing the false with the genuine. When Caesar stands in front of Doctor Will in equal gesture, its I. INTRODUCTION independence and arbitrariness in its expression with dignity With the development of modern computer technology, of orangutan has undoubtedly let viewers understand computer animation technology has developed rapidly. -
Motion Capture Assisted Animation: Texturing and Synthesis
Motion Capture Assisted Animation: Texturing and Synthesis Katherine Pullen Christoph Bregler Stanford University Stanford University Abstract Keyframed Data 2 We discuss a method for creating animations that allows the anima- 0 (a) tor to sketch an animation by setting a small number of keyframes −2 on a fraction of the possible degrees of freedom. Motion capture −4 data is then used to enhance the animation. Detail is added to de- −6 grees of freedom that were keyframed, a process we call texturing. −8 Degrees of freedom that were not keyframed are synthesized. The −10 method takes advantage of the fact that joint motions of an artic- −12 ulated figure are often correlated, so that given an incomplete data 0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2 set, the missing degrees of freedom can be predicted from those that Motion Capture Data are present. 1 CR Categories: I.3.7 [Computer Graphics]: Three-Dimensional 0 (b) Graphics and Realism—Animation; J.5 [Arts and Humantities]: −1 performing arts −2 Keywords: animation, motion capture, motion texture, motion −3 synthesis −4 translation in inches −5 0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2 time in seconds 1 Introduction Figure 1: Comparison of keyframed data and motion capture As the availability of motion capture data has increased, there has data for root y translation for walking. (a) keyframed data, with been more and more interest in using it as a basis for creating com- keyframes indicated by red dots (b) motion capture data. -
Creating 3DCG Animation with a Network of 3D Depth Sensors Ning
2016 International Conference on Sustainable Energy, Environment and Information Engineering (SEEIE 2016) ISBN: 978-1-60595-337-3 Creating 3DCG Animation with a Network of 3D Depth Sensors Ning-ping SUN1,*, Yohei YAMASHITA2 and Ryosuke OKUMURA1 1Dept. of Human-Oriented Information System Engineering 2Advanced Electronics and Information Systems Engineering Course, National Institute of Technology, Kumamoto College, 2659-2 Suya, Koshi, Kumamoto 861-1102, Japan *Corresponding author Keywords: Depth sensor, Network, 3D computer graphics, Animation production. Abstract. The motion capture is a useful technique for creating animations instead of manual labor, but the expensive camera based devices restrict its practical application. The emerging of inexpensive small size of depth-sensing devices provides us opportunities to reconstitute motion capture system. We introduced a network of 3D depth sensors into the production of real time 3DCG animation. Different to the existing system, the new system works well for data communication and anime rendering. We discuss below server how communicate with a group of sensors, and how we operate a group of sensors in the rendering of animation. Some results of verification experiments are provided as well. Introduction The presentation of character’s movement is very important for animation productions. In general, there are two kinds of technique to present movement in an anime. First one is a traditional method, in which animators draw a series of frames of character’s movements individually, and show these frames continuously in a short time interval. Fps, i.e., frames per second is involved the quality of an animation. The more the fps is, the better the quality becomes. -
Applying the Food–Energy–Water Nexus Concept at the Local Scale
ARTICLES https://doi.org/10.1038/s41893-021-00719-1 Applying the food–energy–water nexus concept at the local scale Henry P. Huntington 1 ✉ , Jennifer I. Schmidt2, Philip A. Loring 3, Erin Whitney4, Srijan Aggarwal 5, Amanda G. Byrd4, Subhabrata Dev6, Aaron D. Dotson7, Daisy Huang4, Barbara Johnson8, Justus Karenzi9, Henry J. F. Penn10, AlexAnna Salmon11, Daniel J. Sambor12, William E. Schnabel6, Richard W. Wies Jr9 and Michelle Wilber 4 The food–energy–water (FEW) nexus describes interactions among domains that yield gains or trade-offs when analysed together rather than independently. In a project about renewable energy in rural Alaska communities, we applied this concept to examine the implications for sustainability and resilience. The FEW nexus provided a useful framework for identifying the cross-domain benefits of renewable energy, including gains in FEW security. However, other factors such as transportation and governance also play a major role in determining FEW security outcomes in rural Alaska. Here, we show the implications of our findings for theory and practice. The precise configurations of and relationships among FEW nexus components vary by place and time, and the range of factors involved further complicates the ability to develop a functional, systematic FEW model. Instead, we suggest how the FEW nexus may be applied conceptually to identify and understand cross-domain interactions that contribute to long-term sustainability and resilience. ood, energy and water are essential components of sustain- and the remaining food are transported in by air or water. Part of ability, emphasized as three of the 17 Sustainable Development the initial impetus was to add to practical scholarly understanding FGoals of the United Nations1. -
… … 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. -
384 Cinemacraft: Immersive Live Machinima As an Empathetic
Cinemacraft: Immersive Live Machinima as an Empathetic Musical Storytelling Platform Siddharth Narayanan Ivica Ico Bukvic Electrical and Computer Engineering Institue for Creativity, Arts & Technology Virginia Tech Virginia Tech [email protected] [email protected] ABSTRACT or joystick manipulation for various body motions, rang- ing from simple actions such as walking or jumping to In the following paper we present Cinemacraft, a technology- more elaborate tasks like opening doors or pulling levers. mediated immersive machinima platform for collaborative Such an approach can often result in non-natural and po- performance and musical human-computer interaction. To tentially limiting interactions. Such interactions also lead achieve this, Cinemacraft innovates upon a reverse-engineered to profoundly different bodily experiences for the user and version of Minecraft, offering a unique collection of live may detract from the sense of immersion [10]. Modern day machinima production tools and a newly introduced Kinect game avatars are also loaded with body, posture, and ani- HD module that allows for embodied interaction, includ- mation details in an unending quest for realism and com- ing posture, arm movement, facial expressions, and a lip pelling human representations that are often stylized and syncing based on captured voice input. The result is a mal- limited due to the aforesaid limited forms of interaction. leable and accessible sensory fusion platform capable of These challenges lead to the uncanny valley problem that delivering compelling live immersive and empathetic mu- has been explored through the human likeness of digitally sical storytelling that through the use of low fidelity avatars created faces [11], and the effects of varying degrees of re- also successfully sidesteps the uncanny valley. -
A Software Pipeline for 3D Animation Generation Using Mocap Data and Commercial Shape Models
A Software Pipeline for 3D Animation Generation using Mocap Data and Commercial Shape Models Xin Zhang, David S. Biswas and Guoliang Fan School of Electrical and Computer Engineering Oklahoma State University Stillwater, Oklahoma, United States {xin.zhang, david.s.bisaws, guoliang.fan}@okstate.edu ABSTRACT Additionally, high-quality motion capture (mocap) data We propose a software pipeline to generate 3D animations by and realistic human shape models are two important compo- using the motion capture (mocap) data and human shape nents for animation generation, each of which involves a spe- models. The proposed pipeline integrates two animation cific skeleton definition including the number of joints, the software tools, Maya and MotionBuilder in one flow. Specif- naming convention, hierarchical relationship and underlying ically, we address the issue of skeleton incompatibility among physical meaning of each joint. Ideally, animation software the mocap data, shape models, and animation software. Our can drive a human shape model to move and articulate ac- objective is to generate both realistic and accurate motion- cording to the given mocap data and optimize the deforma- specific animation sequences. Our method is tested by three tion of the body surface with natural smoothness, as shown mocap data sets of various motion types and five commer- in Fig. 1. With the development of computer graphics and cial human shape models, and it demonstrates better visual the mocap technology, there are plenty of mocap data and realisticness and kinematic accuracy when compared with 3D human models available for various research activities. three other animation generation methods. However, due to their different sources, there is a major gap between the mocap data, shape models and animation soft- ware, which often makes animation generation a challenging Categories and Subject Descriptors task. -
Keyframe Or Motion Capture? Reflections on Education of Character Animation
EURASIA Journal of Mathematics, Science and Technology Education, 2018, 14(12), em1649 ISSN:1305-8223 (online) OPEN ACCESS Research Paper https://doi.org/10.29333/ejmste/99174 Keyframe or Motion Capture? Reflections on Education of Character Animation Tsai-Yun Mou 1* 1 National Pingtung University, TAIWAN Received 20 April 2018 ▪ Revised 12 August 2018 ▪ Accepted 13 September 2018 ABSTRACT In character animation education, the training process needs diverse domain knowledge to be covered in order to develop students with good animation ability. However, design of motion also requires digital ability, creativity and motion knowledge. Moreover, there are gaps between animation education and industry production which motion capture is widely applied. Here we try to incorporate motion capture into education and investigate whether motion capture is supportive in character animation, especially in creativity element. By comparing two kinds of motion design method, traditional keyframe and motion capture, we investigated students’ creativity in motion design. The results showed that in originality factor, keyframe method had slightly higher performance support for designing unusual motions. Nevertheless, motion capture had shown more support in creating valid actions in quantity which implied fluency factor of creativity was achieved. However, in flexibility factor, although motion capture created more emotions in amount, keyframe method actually offered higher proportion of sentiment design. Participants indicated that keyframe was helpful to design extreme poses. While motion capture provided intuitive design tool for exploring possibilities. Therefore, we propose to combine motion capture technology with keyframe method in character animation education to increase digital ability, stimulate creativity, and establish solid motion knowledge. Keywords: animation education, character animation, creativity, motion capture, virtual character INTRODUCTION The education of animation is a long-standing and multidisciplinary training.