Ray Tracing for the Movie 'Cars'
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Auto Retailing: Why the Franchise System Works Best
AUTO RETAILING: WHY THE FRANCHISE SYSTEM WORKS BEST Q Executive Summary or manufacturers and consumers alike, the automotive and communities—were much more highly motivated and franchise system is the best method for distributing and successful retailers than factory employees or contractors. F selling new cars and trucks. For consumers, new-car That’s still true today, as evidenced by some key findings franchises create intra-brand competition that lowers prices; of this study: generate extra accountability for consumers in warranty and • Today, the average dealership requires an investment of safety recall situations; and provide enormous local eco- $11.3 million, including physical facilities, land, inventory nomic benefits, from well-paying jobs to billions in local taxes. and working capital. For manufacturers, the franchise system is simply the • Nationwide, dealers have invested nearly $200 billion in most efficient and effective way to distribute and sell automo- dealership facilities. biles nationwide. Franchised dealers invest millions of dollars Annual operating costs totaled $81.5 billion in 2013, of private capital in their retail outlets to provide top sales and • an average of $4.6 million per dealership. These service experiences, allowing auto manufacturers to concen- costs include personnel, utilities, advertising and trate their capital in their core areas: designing, building and regulatory compliance. marketing vehicles. Throughout the history of the auto industry, manufactur- • The vast majority—95.6 percent—of the 17,663 ers have experimented with selling directly to consumers. In individual franchised retail automotive outlets are locally fact, in the early years of the industry, manufacturers used and privately owned. -
General Rental Information
GENERAL RENTAL INFORMATION Our rates include: unlimited mileage (except when indicated differently), reduction for damage and theft, car radio, VAT road tax, preparation of the vehicle, registration fees. Our rates do not include: total elimination of penalty reduction for damage and theft, fuel, refuelling service charge, fines, optional clauses (Mini Kasko, Pai, Super Kasko, Gold Kasko, Road Assistance and Plus), extras, supplements, fees for additional services related to fines, tolls, parking tickets and any penalties or charges imposed by authorities, entities, dealers in relation to the circulation of the vehicle, and anything not expressly included. Please note: Vehicles must be returned during office opening hours. If the customer returns the vehicle during the closure of the local office, he will be held liable for all damage to the vehicle that could be caused during the time between the vehicle has been parked and the opening of our office when our local staff collect it. If the rental period exceeds 30 days, you must complete the procedure and accept the obligations deriving from article 94, paragraph 4 bis of the Italian Road Traffic Code, referring to the update of the Vehicles National Register. JOPARKING SRL is not responsible for anything that may occur in the event of non- compliance with these obligations. The vehicle is delivered in perfect condition and it has to return back in the same conditions. Minimum and maximum age: Minimum age allowed for car rental is 23 years. If the driver's age is between 19-20 years of age, upon payment of the "Young Driver", at a cost of € 24.59 + VAT per day, it is possible to rent cars belonging to the groups A/B/C. -
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. -
An Advanced Path Tracing Architecture for Movie Rendering
RenderMan: An Advanced Path Tracing Architecture for Movie Rendering PER CHRISTENSEN, JULIAN FONG, JONATHAN SHADE, WAYNE WOOTEN, BRENDEN SCHUBERT, ANDREW KENSLER, STEPHEN FRIEDMAN, CHARLIE KILPATRICK, CLIFF RAMSHAW, MARC BAN- NISTER, BRENTON RAYNER, JONATHAN BROUILLAT, and MAX LIANI, Pixar Animation Studios Fig. 1. Path-traced images rendered with RenderMan: Dory and Hank from Finding Dory (© 2016 Disney•Pixar). McQueen’s crash in Cars 3 (© 2017 Disney•Pixar). Shere Khan from Disney’s The Jungle Book (© 2016 Disney). A destroyer and the Death Star from Lucasfilm’s Rogue One: A Star Wars Story (© & ™ 2016 Lucasfilm Ltd. All rights reserved. Used under authorization.) Pixar’s RenderMan renderer is used to render all of Pixar’s films, and by many 1 INTRODUCTION film studios to render visual effects for live-action movies. RenderMan started Pixar’s movies and short films are all rendered with RenderMan. as a scanline renderer based on the Reyes algorithm, and was extended over The first computer-generated (CG) animated feature film, Toy Story, the years with ray tracing and several global illumination algorithms. was rendered with an early version of RenderMan in 1995. The most This paper describes the modern version of RenderMan, a new architec- ture for an extensible and programmable path tracer with many features recent Pixar movies – Finding Dory, Cars 3, and Coco – were rendered that are essential to handle the fiercely complex scenes in movie production. using RenderMan’s modern path tracing architecture. The two left Users can write their own materials using a bxdf interface, and their own images in Figure 1 show high-quality rendering of two challenging light transport algorithms using an integrator interface – or they can use the CG movie scenes with many bounces of specular reflections and materials and light transport algorithms provided with RenderMan. -
Collisions with Passenger Cars and Moose, Sweden U
Collisions with Passenger Cars and Moose, Sweden U. BJORNSTIG, MD, PHD, A. ERIKSSON, MD, PHD, J. THORSON, MD, PHD, AND P-O BYLUND, UC The passenger car sizes have been classified according Abstract: The number of collisions between motor vehicles and to weight, with "small" denoting <1,100 kg, "medium- moose is increasing in many countries. Collisions with large, high sized" from 1,100-1,450 kg, and "large" cars >1,450 kg. animals such as moose cause typical rear- and downward deforma- The percentage of cars of different sizes was 38 per cent, 53 tion of the windshield pillars and front roof, most pronounced for per cent and 10 per cent, respectively. small passenger cars; the injury risk increases with the deformation The persons interviewed usually had a clear idea of the of the car. A strengthening of the windshield pillars and front roof deformation ofthe windshield pillars (A-pillars) and car roof; and the use of antilacerative windshields would reduce the injury 15 per cent had taken photographs which verified the accu- risk to car occupants. (Am J Public Health 1986; 76:460462.) racy of the answers given. All data presented have been projected to reflect 650 accidents involving 1,309 car occupants (of whom 989 were Introduction injured). In the Figures 2-4, numbers superimposed on vertical bars denote this projected number. Sampling uncer- In Sweden, the number of reported road accidents tainty ranges from ±2.5 per cent at the 5-95 per cent end to involving large wildlife and motor vehicles has increased ±5.8 per cent at the 50 per cent end. -
PISTON CUP MOTORIZED GARAGE Folded Size: Type of Fold: # Colors: One INSTRUCTIONS Colors: Black 4+ Paper Stock: White Offset Paper Weight: 70 Lb
This is a battery-operated product. 1 flyer (00007-1849G8) is required to be FCCplaced inside the packaging. INSTRUCTION SHEET SPECIFICATIONS Toy: 3 TO PLAY Toy No.: DXY86 Part No.: 0970-G1 Trim Size: A3 Load vehicles supporting the race. Switch ON the elevator. Load vehicle on track for non-stop racing! A. B. C. PISTON CUP MOTORIZED GARAGE Folded Size: Type of Fold: # colors: One INSTRUCTIONS Colors: Black 4+ Paper Stock: White Offset Paper Weight: 70 lb. Please keep these instructions for future reference as they contain important information. EDM No.: 001a CONTENTS WARNING: CHOKING HAZARD – Small parts. Not for children under 3 years. C 4 1 Rear Cover 2 3 OFF ON A 5 Not for use with some Cars vehicles. D 6 1 1 2 4 1 Take a break and make a pit stop. Load additional vehicles to the race! 3 D. E. G 4 7 F D 8 B 9 B 10 11 A C 12 E 13 E F 1 APPLY LABELS Four vehicles included. Others shown sold separately, subject to availability. 9 TIP: If cars are jammed in the elevator, switch it OFF and disassemble the main tower. Take out the cars and reassemble the main tower again to resume the race. 3 2 5 4 BATTERY INSTALLATION 1 13 • Requires 2 "D" size (LR20) alkaline batteries (not included). • Unscrew the battery cover with a Phillips head screwdriver (not included). 12 • Install 2 "D" size (LR20) alkaline batteries (not included) in the orientation (+/-) shown. 6 • Replace battery cover and tighten screws. • Replace the batteries if elevator can no longer transport vehicles up. -
Autonomous Vehicle Technology: a Guide for Policymakers
Autonomous Vehicle Technology A Guide for Policymakers James M. Anderson, Nidhi Kalra, Karlyn D. Stanley, Paul Sorensen, Constantine Samaras, Oluwatobi A. Oluwatola C O R P O R A T I O N For more information on this publication, visit www.rand.org/t/rr443-2 This revised edition incorporates minor editorial changes. Library of Congress Cataloging-in-Publication Data is available for this publication. ISBN: 978-0-8330-8398-2 Published by the RAND Corporation, Santa Monica, Calif. © Copyright 2016 RAND Corporation R® is a registered trademark. Cover image: Advertisement from 1957 for “America’s Independent Electric Light and Power Companies” (art by H. Miller). Text with original: “ELECTRICITY MAY BE THE DRIVER. One day your car may speed along an electric super-highway, its speed and steering automatically controlled by electronic devices embedded in the road. Highways will be made safe—by electricity! No traffic jams…no collisions…no driver fatigue.” Limited Print and Electronic Distribution Rights This document and trademark(s) contained herein are protected by law. This representation of RAND intellectual property is provided for noncommercial use only. Unauthorized posting of this publication online is prohibited. Permission is given to duplicate this document for personal use only, as long as it is unaltered and complete. Permission is required from RAND to reproduce, or reuse in another form, any of its research documents for commercial use. For information on reprint and linking permissions, please visit www.rand.org/pubs/permissions.html. The RAND Corporation is a research organization that develops solutions to public policy challenges to help make communities throughout the world safer and more secure, healthier and more prosperous. -
Deep Compositing Using Lie Algebras
Deep Compositing Using Lie Algebras TOM DUFF Pixar Animation Studios Deep compositing is an important practical tool in creating digital imagery, Deep images extend Porter-Duff compositing by storing multiple but there has been little theoretical analysis of the underlying mathematical values at each pixel with depth information to determine composit- operators. Motivated by finding a simple formulation of the merging oper- ing order. The OpenEXR deep image representation stores, for each ation on OpenEXR-style deep images, we show that the Porter-Duff over pixel, a list of nonoverlapping depth intervals, each containing a function is the operator of a Lie group. In its corresponding Lie algebra, the single pixel value [Kainz 2013]. An interval in a deep pixel can splitting and mixing functions that OpenEXR deep merging requires have a represent contributions either by hard surfaces if the interval has particularly simple form. Working in the Lie algebra, we present a novel, zero extent or by volumetric objects when the interval has nonzero simple proof of the uniqueness of the mixing function. extent. Displaying a single deep image requires compositing all the The Lie group structure has many more applications, including new, values in each deep pixel in depth order. When two deep images correct resampling algorithms for volumetric images with alpha channels, are merged, splitting and mixing of these intervals are necessary, as and a deep image compression technique that outperforms that of OpenEXR. described in the following paragraphs. 26 r Merging the pixels of two deep images requires that correspond- CCS Concepts: Computing methodologies → Antialiasing; Visibility; ing pixels of the two images be reconciled so that all overlapping Image processing; intervals are identical in extent. -
Loren Carpenter, Inventor and President of Cinematrix, Is a Pioneer in the Field of Computer Graphics
Loren Carpenter BIO February 1994 Loren Carpenter, inventor and President of Cinematrix, is a pioneer in the field of computer graphics. He received his formal education in computer science at the University of Washington in Seattle. From 1966 to 1980 he was employed by The Boeing Company in a variety of capacities, primarily software engineering and research. While there, he advanced the state of the art in image synthesis with now standard algorithms for synthesizing images of sculpted surfaces and fractal geometry. His 1980 film Vol Libre, the world’s first fractal movie, received much acclaim along with employment possibilities countrywide. He chose Lucasfilm. His fractal technique and others were usedGenesis in the sequence Starin Trek II: The Wrath of Khan. It was such a popular sequence that Paramount used it in most of the other Star Trek movies. The Lucasfilm computer division produced sequences for several movies:Star Trek II: The Wrath of Khan, Young Sherlock Holmes, andReturn of the Jedl, plus several animated short films. In 1986, the group spun off to form its own business, Pixar. Loren continues to be Senior Scientist for the company, solving interesting problems and generally improving the state of the art. Pixar is now producing the first completely computer animated feature length motion picture with the support of Disney, a logical step after winning the Academy Award for best animatedTin short Toy for in 1989. In 1993, Loren received a Scientific and Technical Academy Award for his fundamental contributions to the motion picture industry through the invention and development of the RenderMan image synthesis software system. -
DVF40 : Disney Pixar Cars 3 Willy's Butte Transforming Track
INSTRUCTION SHEET SPECIFICATIONS Toy: 3 TO PLAY: SIDE RACE Toy No.: DVF40 Part No.: 0970G1 Trim Size: A3 WILLY’S BUTTE Folded Size: Race around the side loop and nail the jump! TRANSFORMING TRACK SET Type of Fold: # colors: One Colors: Black INSTRUCTIONS 4+ Paper Stock: White Offset a b Paper Weight: 70 lb. Please keep these instructions for future reference as they contain important information. EDM No.: 001a CONTENTS 4 1 Rear Cover 2 3 4 1 1 Delete the Label and Apply Label step B 4 TO PLAY: STUNT JUMP B A 1 Reposition track parts to build the stunt loop. A WARNING: CHOKING HAZARD – Small parts. Not for children under 3 years. ©2016 Mattel. All Rights Reserved. ® and ™ designate U.S. trademarks of Mattel, except as noted. Mattel, Inc., 636 Girard Avenue, East Aurora, NY 14052, U.S.A. Consumer Relations 1-800-524-8697. Mattel U.K. Ltd., Vanwall Business Park, Maidenhead SL6 4UB. Helpline 01628 500303. Mattel Australia Pty., Ltd., Richmond, Victoria. 3121.Consumer Advisory Service - 1300 135 312. Mattel East Asia Ltd., Room 503-09, North Tower, World Finance Centre, Harbour City, Tsimshatsui, HK, China. Diimport & Diedarkan Oleh: Mattel Southeast Asia Pte. Ltd. , No 19-1, Tower 3 Avenue 7, Bangsar South City, No 8, Jalan Kerinchi, 59200 Kuala Lumpur, Malaysia. Tel: 03-78803817, Fax: 03-78803867. 2 Launch and jump through the loop! DVF40-0970G1 © Disney/Pixar www.disney.com/cars service.mattel.com 1101350594_DOM 4 1 4 of 4 page 1 of 4 page 1 ASSEMBLY 2 TO PLAY: AROUND THE LOOP 1 B B 1 Load vehicle. -
Press Release
Press release CaixaForum Madrid From 21 March to 22 June 2014 Press release CaixaForum Madrid hosts the first presentation in Spain of a show devoted to the history of a studio that revolutionised the world of animated film “The art challenges the technology. Technology inspires the art.” That is how John Lasseter, Chief Creative Officer at Pixar Animation Studios, sums up the spirit of the US company that marked a turning-point in the film world with its innovations in computer animation. This is a medium that is at once extraordinarily liberating and extraordinarily challenging, since everything, down to the smallest detail, must be created from nothing. Pixar: 25 Years of Animation casts its spotlight on the challenges posed by computer animation, based on some of the most memorable films created by the studio. Taking three key elements in the creation of animated films –the characters, the stories and the worlds that are created– the exhibition reveals the entire production process, from initial idea to the creation of worlds full of sounds, textures, music and light. Pixar: 25 Years of Animation traces the company’s most outstanding technical and artistic achievements since its first shorts in the 1980s, whilst also enabling visitors to discover more about the production process behind the first 12 Pixar feature films through 402 pieces, including drawings, “colorscripts”, models, videos and installations. Pixar: 25 Years of Animation . Organised and produced by : Pixar Animation Studios in cooperation with ”la Caixa” Foundation. Curator : Elyse Klaidman, Director, Pixar University and Archive at Pixar Animation Studios. Place : CaixaForum Madrid (Paseo del Prado, 36). -
King's Research Portal
King’s Research Portal DOI: 10.1386/ap3.4.1.67_1 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Holliday, C. (2014). Notes on a Luxo world. Animation Practice, Process & Production, 67-95. https://doi.org/10.1386/ap3.4.1.67_1 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.