Defining the Modeling Standard for 3D Character Artists Jessica L
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Autodesk Entertainment Creation Suite
Autodesk Entertainment Creation Suite Top Reasons to Buy and Upgrade Access the power of the industry’s top 3D modeling and animation technology in one unbeatable software suite. Autodesk® Entertainment Creation Suite Options: Autodesk® Maya® Autodesk® 3ds Max® Entertainment Creation Suite 2010 includes: Entertainment Creation Suite 2010 includes: • Autodesk® Maya® 2010 software • Autodesk® 3ds Max® 2010 • Autodesk® MotionBuilder® 2010 software • Autodesk® MotionBuilder® 2010 software • Autodesk® Mudbox™ 2010 software • Autodesk® Mudbox™ 2010 software Comprehensive Creative Toolsets The Autodesk Entertainment Creation Suite offers an expansive range of artist-driven tools designed to handle tough production challenges. With a choice of either Autodesk Maya 2010 software or Autodesk 3ds Max 2010 software, you have access to award-winning, 3D software for modeling, animation, rendering, and effects. The Suite also includes Autodesk Mudbox 2010 software, allowing you to quickly and intuitively sculpt highly detailed models; and Autodesk MotionBuilder 2010 software, to quickly and efficiently create, manipulate and process massive amounts of animation data. The complementary toolsets of the Suite help you to achieve higher quality results more efficiently and more cost-effectively. Real-Time Performance with MotionBuilder The addition of MotionBuilder to a Maya or 3ds Max pipeline helps increase production efficiency, and produce higher quality results when developing projects requiring high-volume character animation. With its real-time 3D engine and dedicated toolsets for character rigging, nonlinear animation editing, motion-capture data manipulation, and interactive dynamics, MotionBuilder is an ideal, complementary toolset to Maya or 3ds Max, forming a unified Image courtesy of Wang Xiaoyu. end-to-end animation solution. Digital Sculpting and Texture Painting with Mudbox Designed by professional artists in the film, games and design industries, Mudbox software gives 3D modelers and texture artists the freedom to create without worrying about technical details. -
Luna Moth: Supporting Creativity in the Cloud
Pedro Alfaiate Instituto Superior Técnico / Luna Moth INESC-ID Inês Caetano Instituto Superior Técnico / INESC-ID Supporting Creativity in the Cloud António Leitão Instituto Superior Técnico / INESC-ID 1 ABSTRACT Algorithmic design allows architects to design using a programming-based approach. Current algo- 1 Migration from desktop application rithmic design environments are based on existing computer-aided design applications or building to the cloud. information modeling applications, such as AutoCAD, Rhinoceros 3D, or Revit, which, due to their complexity, fail to give architects the immediate feedback they need to explore algorithmic design. In addition, they do not address the current trend of moving applications to the cloud to improve their availability. To address these problems, we propose a software architecture for an algorithmic design inte- grated development environment (IDE), based on web technologies, that is more interactive than competing algorithmic design IDEs. Besides providing an intuitive editing interface which facilitates programming tasks for architects, its performance can be an order of magnitude faster than current aalgorithmic design IDEs, thus supporting real-time feedback with more complex algorithmic design programs. Moreover, our solution also allows architects to export the generated model to their preferred computer-aided design applications. This results in an algorithmic design environment that is accessible from any computer, while offering an interactive editing environment that inte- grates into the architect’s workflow. 72 INTRODUCTION programming languages that also support traceability between Throughout the years, computers have been gaining more ground the program and the model: when the user selects a component in the field of architecture. In the beginning, they were only used in the program, the corresponding 3D model components are for creating technical drawings using computer-aided design highlighted. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
3D Modeling: Surfaces
CS 430/536 Computer Graphics I Overview • 3D model representations 3D Modeling: • Mesh formats Surfaces • Bicubic surfaces • Bezier surfaces Week 8, Lecture 16 • Normals to surfaces David Breen, William Regli and Maxim Peysakhov • Direct surface rendering Geometric and Intelligent Computing Laboratory Department of Computer Science Drexel University 1 2 http://gicl.cs.drexel.edu 1994 Foley/VanDam/Finer/Huges/Phillips ICG 3D Modeling Representing 3D Objects • 3D Representations • Exact • Approximate – Wireframe models – Surface Models – Wireframe – Facet / Mesh – Solid Models – Parametric • Just surfaces – Meshes and Polygon soups – Voxel/Volume models Surface – Voxel – Decomposition-based – Solid Model • Volume info • Octrees, voxels • CSG • Modeling in 3D – Constructive Solid Geometry (CSG), • BRep Breps and feature-based • Implicit Solid Modeling 3 4 Negatives when Representing 3D Objects Representing 3D Objects • Exact • Approximate • Exact • Approximate – Complex data structures – Lossy – Precise model of – A discretization of – Expensive algorithms – Data structure sizes can object topology the 3D object – Wide variety of formats, get HUGE, if you want each with subtle nuances good fidelity – Mathematically – Use simple – Hard to acquire data – Easy to break (i.e. cracks represent all primitives to – Translation required for can appear) rendering – Not good for certain geometry model topology applications • Lots of interpolation and and geometry guess work 5 6 1 Positives when Exact Representations Representing 3D Objects • Exact -
Brian Paint Breakdown 1.Qxd
Digital Matte Painting Reel Breakdown Brian LaFrance Run Time: 2 Minutes 949-302-2085 [email protected] Big Hero 6: Baymax and Hiro Flying Sequence Description: Lead Set Extension Artist. helped develop sky pano from source HDR's, which fed lighting dept. 360 degree seaming of ocean/sky horizon, land, atmosphere blending. Painted East Bay city. Made 3d fog volumes in houdini, rendered with scene lighting for reference, which informed the painting of multiple fog lay- ers, which were blended into the scene using zdepth "slices" for holdouts, integrating the fog into the landscape. Software Used: Photoshop, Maya, Nuke, Houdini, Terragen, Hyperion(Disney Prop. Rendering software) Big Hero 6: Bridge Description: Painted sky, ground fog slices and lights, projected in nuke. Software Used: Photoshop, Maya, Nuke, Terragen, Hyperion Big Hero 6: City Description: Painted sky, moving ground fog clouds. Clouds integrated into digital set using zdepth "slices" for holdouts, integrating fog into the landscape. Software Used: Photoshop, Maya, Nuke R.I.P.D.: City Shots Description: Blocked out city compositions with simple geometry, projected texture onto that geometry. Software Used: Photoshop, Rampage (Rhythm and Hues Prop. Projection software) The Seventh Son: Multiple Shots Description: Modeled simple geom, sculpted in zbrush for balcony shot, textured/lit/rendered in mental ray, painted over in photoshop, projected onto modeled or simplified geometry in rampage. Software Used: Photoshop, Maya, Mental Ray, Zbrush, Rampage Elysium: Earth Description: Provided a Terragen "Planet Rig" to Image Engine for them to render views of earth, as well as a large render of whole earth to be used as source for matte painting(s). -
Kaitlyn Watkins' Resume WS
Kaitlyn Watkins Animator/Illustrator/Character Designer I am a self-motivated, goal-oriented, and diligent animator, illustrator, and character designer. Whether working on academic, extracurricular, or professional projects, I apply proven critical thinking, problem- solving, and communication skills, which I hope to leverage into the animation industry. https://katiesartofanimation.com Willing to relocate @kats.art.of.animation Experience Educational History NASA VFX Launch Project | 2017 Digital Animation & Visual Effects School | Lighting Artist, Animator, Compositor 2016 - 2017 Created VFX project using: Maya, Modo, ZBrush, Nuke, Hard surface and organic modeling, Retropology, Adobe Photoshop, and Adobe Premiere and UV mapping Communicated with NASA, VFX artist supervisor, and Digital sculpting, node and layer based compositing, VFX team to ensure tasks were completed in an rotoscoping, look dev/stereoscopic techniques accurate and efficient manner Camera animation, rigging, character animation, Makeup Artist | 2015 - Present facial animation Freelancer Lighting, shading, texturing Apply makeup to enhance, and/or alter the appearance of people appearing in productions. Scene breakouts, rendered passes and multi-passes Volunteer | 2015 - Present Green screen keying, color grading, matte painting SCAD Film Fest 2D/3D tracking, set extensions Breast Cancer Awareness Multiple Sclerosis Awareness Skills Summary Awards/Art Exhibits/ Accolades Won 5 Emmy Awards for NASA Class Project Creation of characters, expression sheets, and special -
Full Body 3D Scanning
3D Photography: Final Project Report Full Body 3D Scanning Sam Calabrese Abhishek Gandhi Changyin Zhou fsmc2171, asg2160, [email protected] Figure 1: Our model is a dancer. We capture his full-body 3D model by combining image-based methods and range scanner, and then do an animation of dancing. Abstract Compared with most laser scanners, image-based methods using triangulation principles are much faster and able to provide real- In this project, we are going to build a high-resolution full-body time 3D sensing. These methods include depth from motion [Aloi- 3D model of a live person by combining image-based methods and monos and Spetsakis 1989], shape from shading [Zhang et al. laser scanner methods. A Leica 3D range scanner is used to obtain 1999], depth from defocus/focus [Nayar et al. 1996][Watanabe and four accurate range data of the body from four different perspec- Nayar 1998][Schechner and Kiryati 2000][Zhou and Lin 2007], and tives. We hire a professional model and adopt many measures to structure from stereo [Dhond and Aggarwal 1989]. They often re- minimize the movement during the long laser-scanning. The scan quire the object surface to be textured, non-textured, or lambertian. data is then sequently processed by Cyclone, MeshLab, Scanalyze, These requirements often make them impractical in many cases. VRIP, PlyCrunch and 3Ds Max to obtain our final mesh. We take In addition, image-based methods usually cannot give a precision three images of the face from frontal and left/right side views, and depth estimation since they do patch-based analysis. -
Science Fiction Artist In-Depth Interviews
DigitalArtLIVE.com DigitalArtLIVE.com SCIENCE FICTION ARTIST IN-DEPTH INTERVIEWS THE FUTURE OCEANS ISSUE ARTUR ROSA SAMUEL DE CRUZ TWENTY-EIGHT MATT NAVA APRIL 2018 VUE ● TERRAGEN ● POSER ● DAZ STUDIO ● REAL-TIME 3D ● 2D DIGITAL PAINTING ● 2D/3D COMBINATIONS We visit Portugal, to talk with a master of the Vue software, Artur Rosa. Artur talks with Digital Art Live about his love of the ocean, his philosophy of beauty, and the techniques he uses to make his pictures. Picture: “The Sentinels” 12 ARTUR ROSA PORTUGAL VUE | PHOTOSHOP | POSER | ZBRUSH WEB DAL: Artur, welcome back to Digital Art Live magazine. We last interviewed you in our special #50 issue of the old 3D Art Direct magazine. That was back in early 2015, when we mainly focussed on your architectural series “White- Orange World” and your forest pictures. In this ‘Future Oceans’ themed issue of Digital Art Live we’d like to focus on some of your many ocean colony pictures and your recent sea view and sea -cave pictures. Which are superb, by the way! Some of the very best Vue work I’ve seen. Your recent work of the last six months is outstanding, even more so that the work you made in the early and mid 2010s. You must be very pleased at the level of achievement that you can now reach by using Vue and Photoshop? AR: Thank you for having me again, and thank you for the compliment and feedback. I’m humbled and honoured that my work may be of interest for your readers. To be honest, I’m never quite sure if my work is getting better or worse. -
Signed Distance Fields
Further Graphics Ray Marching and Signed Distance Fields Alex Benton, University of Cambridge – [email protected] 1 Supported in part by Google UK, Ltd GPU Ray-tracing Ray tracing 101: “Choose the color of the pixel by firing a ray through and seeing what it hits.” Ray tracing 102: “Let the pixel make up its own mind.” 2 GPU Ray-tracing 1. Use a minimal vertex shader (no transforms) - all work happens in the fragment shader 2. Set up OpenGL with minimal geometry, a single quad 3. Bind coordinates to each vertex, let the GPU interpolate coordinates to every pixel 4. Implement raytracing in GLSL: a. For each pixel, compute the ray from the eye through the pixel, using the interpolated coordinates to identify the pixel b. Run the ray tracing algorithm for every ray 3 GPU Ray-tracing // Window dimensions vec3 getRayDir( uniform vec2 iResolution; vec3 camDir, vec3 camUp, // Camera position vec2 texCoord) { uniform vec3 iRayOrigin; vec3 camSide = normalize( cross(camDir, camUp)); // Camera facing direction vec2 p = 2.0 * texCoord - 1.0; uniform vec3 iRayDir; p.x *= iResolution.x / iResolution.y; // Camera up direction return normalize( uniform vec3 iRayUp; p.x * camSide + p.y * camUp // Distance to viewing plane + iPlaneDist * camDir); uniform float iPlaneDist; } // ‘Texture’ coordinate of each // vertex, interpolated across camUp // fragments (0,0) → (1,1) camDir in vec2 texCoord; camSide 4 GPU Ray-tracing: Sphere Hit traceSphere(vec3 rayorig, vec3 raydir, vec3 pos, float radius) { float OdotD = dot(rayorig - pos, raydir); float OdotO = dot(rayorig -
Avatare in Katastrophensimulationen
Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems ISBN 978-3-86219-610-4 Siemon Andreas zur Darstellung von Beteiligten in Großschadenslagen Avatare in Katastrophensimulationen in Katastrophensimulationen Avatare Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems zur Darstellung von Beteiligten in Großschadenslagen kassel university press Die vorliegende Arbeit wurde vom Fachbereich Elektrotechnik / Informatik der Universität Kassel als Dissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften (Dr. rer. nat.) angenommen. Erster Gutachter: Prof. Dr.-Ing. D. Wloka Zweiter Gutachter: Prof. Dr. A. Zündorf Tag der mündlichen Prüfung 27. März 2013 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar Zugl.: Kassel, Univ., Diss. 2013 ISBN 978-3-86219-610-4 (print) ISBN 978-3-86219-611-1 (e-book) URN: http://nbn-resolving.de/urn:nbn:de:0002-36118 © 2013, kassel university press GmbH, Kassel www.uni-kassel.de/upress Druck und Verarbeitung: Print Management Logistics Solutions, Kassel Printed in Germany Danksagung Die vorliegende Dissertation entstand im Zeitraum von Oktober 2008 bis November 2012 am Fachgebiet Technische Informatik der Universit¨at Kassel. Sie w¨are nicht ohne die Unterstutzung,¨ den Rat und die Geduld zahlreicher Personen m¨oglich gewesen, bei denen ich mich im nachfolgenden herzlich bedanken m¨ochte. Mein besonderer Dank gilt meinem Betreuer, Herrn Prof. Dr.-Ing. Dieter Wloka, fur¨ die interessante Aufgabenstellung verbunden mit der M¨oglichkeit, die vorliegende Arbeit an seinem Fachgebiet anfertigen zu durfen.¨ Weiterhin bedanke ich mich fur¨ die ausgezeichnete Betreuung, die st¨andige Diskussionsbereitschaft sowie die wertvollen Anregungen und Hinweise. -
Texture Mapping with Mudbox and 3Ds Max
Texture Mapping with Mudbox and 3ds Max by Joshua Holland Graphic Communication Department College of Liberal Arts California Polytechnic State University 2011 ABSTRACT Texture Mapping with Mudbox and 3ds Max Joshua Holland Graphic Communication Department, December 2011 Advisor: Kevin Cooper The purpose of this study was to determine the intuitiveness of texture mapping and compressibility of files generated using Autodesk 3ds Max 2012 versus Autodesk Mudbox 2012. This will be used by anyone starting to learn how to texture map and who is comparing programs that have the capability to do so. This will save users time in researching which program is better suited for their needs. This study investigated how Autodesk 3ds Max 2012 and Autodesk Mudbox 2012 compared in mapping textures to 3D models. A basic computer skills assessment test and an intuitive test was administered to twelve participants. They were ranked based on their computer skills assessment scores, texture map completion time with 3ds Max, and texture map completion time with Mudbox. Exported files sizes for 3D models using 3ds Max and Mudbox were also compared to determine which was smaller. Participants were not included in the file size portion of the study. Results from twelve participants in the intuitive test showed that Mudbox proved to be more intuitive for first time users attempting to apply a texture to a 3D object. However, 3ds Max offers more control and precision in performing these tasks at the cost of a large learning curve and a less of a fluid interface. The compressiblity test showed that 3ds Max produced a smaller file size. -
Makerbot in the Classroom
COMPILED BY MAKERBOT EDUCATION Copyright © 2015 by MakerBot® www.makerbot.com All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. The information in this document concerning non-MakerBot products or services was obtained from the suppliers of those products or services or from their published announcements. Specific questions on the capabilities of non-MakerBot products and services should be addressed to the suppliers of those products and services. ISBN: 978-1-4951-6175-9 Printed in the United States of America First Edition 10 9 8 7 6 5 4 3 2 1 Compiled by MakerBot Education MakerBot Publishing • Brooklyn, NY TABLE OF CONTENTS 06 INTRODUCTION TO 3D PRINTING IN THE CLASSROOM 08 LESSON 1: INTRODUCTION TO 3D PRINTING 11 MakerBot Stories: Education 12 MakerBot Stories: Medical 13 MakerBot Stories: Business 14 MakerBot Stories: Post-Processing 15 MakerBot Stories: Design 16 LESSON 2: USING A 3D PRINTER 24 LESSON 3: PREPARING FILES FOR PRINTING 35 THREE WAYS TO MAKE 36 WAYS TO DOWNLOAD 40 WAYS TO SCAN 46 WAYS TO DESIGN 51 PROJECTS AND DESIGN SOFTWARE 52 PROJECT: PRIMITIVE MODELING WITH TINKERCAD 53 Make Your Own Country 55 Explore: Modeling with Tinkercad 59 Investigate: Geography and Climates 60 Create: