Introduction to Computer Graphics and Animation
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Object Oriented Programming
No. 52 March-A pril'1990 $3.95 T H E M TEe H CAL J 0 URN A L COPIA Object Oriented Programming First it was BASIC, then it was structures, now it's objects. C++ afi<;ionados feel, of course, that objects are so powerful, so encompassing that anything could be so defined. I hope they're not placing bets, because if they are, money's no object. C++ 2.0 page 8 An objective view of the newest C++. Training A Neural Network Now that you have a neural network what do you do with it? Part two of a fascinating series. Debugging C page 21 Pointers Using MEM Keep C fro111 (C)rashing your system. An AT Keyboard Interface Use an AT keyboard with your latest project. And More ... Understanding Logic Families EPROM Programming Speeding Up Your AT Keyboard ((CHAOS MADE TO ORDER~ Explore the Magnificent and Infinite World of Fractals with FRAC LS™ AN ELECTRONIC KALEIDOSCOPE OF NATURES GEOMETRYTM With FracTools, you can modify and play with any of the included images, or easily create new ones by marking a region in an existing image or entering the coordinates directly. Filter out areas of the display, change colors in any area, and animate the fractal to create gorgeous and mesmerizing images. Special effects include Strobe, Kaleidoscope, Stained Glass, Horizontal, Vertical and Diagonal Panning, and Mouse Movies. The most spectacular application is the creation of self-running Slide Shows. Include any PCX file from any of the popular "paint" programs. FracTools also includes a Slide Show Programming Language, to bring a higher degree of control to your shows. -
Computer Science and Software Engineering 1
Computer Science and Software Engineering 1 Computer Science and Software Engineering Software Engineering The focus of the software engineering curriculum, which leads to the bachelor of software engineering, is on the analysis, design, verification, validation, construction, application, and maintenance of software systems. The degree program prepares students for professional careers and graduate study with a balance of computer science theory and practical application of software engineering methodology using modern software engineering environments and tools. The curriculum is based on a strong core of topics including software modeling and design, construction, process and quality assurance, intelligent and interactive systems, networks, operating systems, and computer architecture. The curriculum also enriches each student’s general education with a range of courses from science, mathematics, the humanities and the social sciences. Through advanced elective courses, the curriculum allows students to specialize in core areas of computer science and software engineering. Engineering design theory and methodology, as they apply to software systems, form an integral part of the curriculum, beginning with the first course in computing and culminating with a comprehensive senior design project, which gives students the opportunity to work in one or more significant application domains. The curriculum also emphasizes oral and written communication skills, the importance of ethical behavior, and the need for continual, life-long learning. The overall educational objectives of the Software Engineering program are for graduates of the program to attain success in their chosen profession and/or post-undergraduate studies. The undergraduate Software Engineering program is accredited by the Engineering Accreditation Commission of ABET, http:// www.abet.org. -
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. -
Simulating Humans: Computer Graphics, Animation, and Control
University of Pennsylvania ScholarlyCommons Center for Human Modeling and Simulation Department of Computer & Information Science 6-1-1993 Simulating Humans: Computer Graphics, Animation, and Control Bonnie L. Webber University of Pennsylvania, [email protected] Cary B. Phillips University of Pennsylvania Norman I. Badler University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hms Recommended Citation Webber, B. L., Phillips, C. B., & Badler, N. I. (1993). Simulating Humans: Computer Graphics, Animation, and Control. Retrieved from https://repository.upenn.edu/hms/68 Reprinted with Permission by Oxford University Press. Reprinted from Simulating humans: computer graphics animation and control, Norman I. Badler, Cary B. Phillips, and Bonnie L. Webber (New York: Oxford University Press, 1993), 283 pages. Author URL: http://www.cis.upenn.edu/~badler/book/book.html This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hms/68 For more information, please contact [email protected]. Simulating Humans: Computer Graphics, Animation, and Control Abstract People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. -
Introduction Week 1, Lecture 1
CS 430 Computer Graphics Introduction Week 1, Lecture 1 David Breen, William Regli and Maxim Peysakhov Department of Computer Science Drexel University 1 Overview • Course Policies/Issues • Brief History of Computer Graphics • The Field of Computer Graphics: A view from 66,000ft • Structure of this course • Homework overview • Introduction and discussion of homework #1 2 Computer Graphics I: Course Goals • Provide introduction to fundamentals of 2D and 3D computer graphics – Representation (lines/curves/surfaces) – Drawing, clipping, transformations and viewing – Implementation of a basic graphics system • draw lines using Postscript • simple frame buffer with PBM & PPM format • ties together 3D projection and 2D drawing 3 Interactive Computer Graphics CS 432 • Learn and program WebGL • Computer Graphics was a pre-requisite – Not anymore • Looks at graphics “one level up” from CS 430 • Useful for Games classes • Part of the HCI and Game Development & Design tracks? 5 Advanced Rendering Techniques (Advanced Computer Graphics) • Might be offered in the Spring term • 3D Computer Graphics • CS 430/536 is a pre-requisite • Implement Ray Tracing algorithm • Lighting, rendering, photorealism • Study Radiosity and Photon Mapping 7 ART Student Images 8 Computer Graphics I: Technical Material • Course coverage – Mathematical preliminaries – 2D lines and curves – Geometric transformations – Line and polygon drawing – 3D viewing, 3D curves and surfaces – Splines, B-Splines and NURBS – Solid Modeling – Color, hidden surface removal, Z-buffering 9 -
Audiovisual Spatial Congruence, and Applications to 3D Sound and Stereoscopic Video
Audiovisual spatial congruence, and applications to 3D sound and stereoscopic video. C´edricR. Andr´e Department of Electrical Engineering and Computer Science Faculty of Applied Sciences University of Li`ege,Belgium Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) in Engineering Sciences December 2013 This page intentionally left blank. ©University of Li`ege,Belgium This page intentionally left blank. Abstract While 3D cinema is becoming increasingly established, little effort has fo- cused on the general problem of producing a 3D sound scene spatially coher- ent with the visual content of a stereoscopic-3D (s-3D) movie. The percep- tual relevance of such spatial audiovisual coherence is of significant interest. In this thesis, we investigate the possibility of adding spatially accurate sound rendering to regular s-3D cinema. Our goal is to provide a perceptually matched sound source at the position of every object producing sound in the visual scene. We examine and contribute to the understanding of the usefulness and the feasibility of this combination. By usefulness, we mean that the technology should positively contribute to the experience, and in particular to the storytelling. In order to carry out experiments proving the usefulness, it is necessary to have an appropriate s-3D movie and its corresponding 3D audio soundtrack. We first present the procedure followed to obtain this joint 3D video and audio content from an existing animated s-3D movie, problems encountered, and some of the solutions employed. Second, as s-3D cinema aims at providing the spectator with a strong impression of being part of the movie (sense of presence), we investigate the impact of the spatial rendering quality of the soundtrack on the reported sense of presence. -
The Palgrave Handbook of Screen Production
The Palgrave Handbook of Screen Production Edited by Craig Batty · Marsha Berry · Kath Dooley Bettina Frankham · Susan Kerrigan The Palgrave Handbook of Screen Production Craig Batty • Marsha Berry Kath Dooley • Bettina Frankham Susan Kerrigan Editors The Palgrave Handbook of Screen Production Editors Craig Batty Marsha Berry University of Technology Sydney RMIT University Sydney, NSW, Australia Melbourne, VIC, Australia Kath Dooley Bettina Frankham Curtin University University of Technology Sydney Bentley, WA, Australia Sydney, NSW, Australia Susan Kerrigan University of Newcastle Callaghan, NSW, Australia ISBN 978-3-030-21743-3 ISBN 978-3-030-21744-0 (eBook) https://doi.org/10.1007/978-3-030-21744-0 © The Editor(s) (if applicable) and The Author(s) 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprint- ing, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, com- puter software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
Computer Animation in an Intuitive Way
An Interactive method to control Computer Animation in an intuitive way. Andrea Piscitello Ettore Trainiti University of Illinois at Chicago University of Illinois at Chicago 1200 W Harrison St, Chicago, IL 1200 W Harrison St, Chicago, IL [email protected] [email protected] ABSTRACT keyframe by defining the position of each vertex, may result Human Computer Interaction is a rising field of computer in very tedious task to perform. For this reason, skeletal an- science and perfectly fits among Computer Graphics scopes. imation is often preferred. This method is composed of two The video-game industry is focusing on this field in order phases: rigging and animation. Rigging consists in defining to provide always more realistic and engaging game expe- a skeleton made of bones. Parts of the mesh are associated riences. The bond between animation and user movement to each of these bones in order to define which bone is re- seems to be destinated to be closer in future. sponsible of deforming a part of the object. The animation is then designed by defining the position of each bone in each Author Keywords keyframe and interpolating the inbetweens. For big produc- Keyframing, Rigging, Mophing, Warping, Blending. tions like movies and videogames, the animation design is executed by means of more powerful techniques like for in- INTRODUCTION stance motion capture. Motion Capture is a technique, which Computer Animation is the process of generating animated takes advantage of special suits that actors dress and that cap- images in computer graphics scenes. It is one of the most an- ture every movement they do. -
Computer Technology to Imitate Traditional Tie-Dye Patterns
Advances in Engineering Research (AER), volume 117 2nd Annual International Conference on Electronics, Electrical Engineering and Information Science (EEEIS 2016) Computer technology to imitate traditional tie-dye patterns Xiao-Sha Yin1,a and Jian-Ming Wang2,b, † 1Beijing Institute of Fashion Technology, Beijing, China 2Beijing Institute of Fashion Technology, Beijing, China [email protected], [email protected] †Jian-Ming Wang Abstract. Because of its long tradition of printing and dyeing technology cycle, complicated production process, and the pollution of the environment, energy consumption in the future development of the ecological environment has hazards. By using Ultra Fractal to simulate fractal tie-dye pattern, reproduce the Chinese traditional tie-dye art, but also carry forward the traditional culture and inheritance. Keywords: Simulation; Fractal; Tie-dye. Introduction Tie-dye is an ancient folk art, handmade tie-dye all over the world, different historical and geographical environment, create tie-dye works differently[1].Since the penetration of fiber texture of the fabric, the fabric will be a strong level of color halos, even if the same graphic design, because of different method, different tightness, different water temperatures will allow the works to produce dry-changing of the results , so there will be some limitations in the design, and computer simulation can be dyed just right to fill the vacancy[2]. In recent years, through the use of computer-aided design technology graphic design, fractal pattern design and intelligent graphic design and digital printing technology and other methods combined. Wherein the graphic design software, image processing software Photoshop, graphics software Freehand, Illustrator, Corel Draw, mapping software Painter, typesetting software Pagemkae, Quark, etc. -
Group Simulation of Three Agents Using Unity3d Vincent Wong Max Turpeinen [email protected] [email protected]
Bachelor’s Project in simulation and virtual design KTH Royal Institute of Technology Group Simulation of Three Agents using Unity3D Vincent Wong Max Turpeinen [email protected] [email protected] KTH Royal Institute of Technology | Supervisor: Christopher Peters Link to our blog: http://www.crowdsimulationkth.blogspot.se/ Figure 1: Screen captures from our scene with the latest implementation of our model. Abstract Crowd simulation refers to simulating a large number of agents trying to replicate collective behavior in 3D computer graphics. For this, we have been using the game engine Unity 3D. In our work we are mainly focusing on group formations consisting of 3 agents. Each group is assigned a leader which keeps track of formations and evading collisions. The groups can take on four different formations, working like a finite state machine. In our general scenario, two groups could face, making it useful to adapt the formations and movement direction to avoid each other. We have been implementing our own model after having looked at different major concept already existing in the world of crowd simulation. You could define our model as a hybrid rule-based one, seeing that we have a smaller group working in a way like a single entity, making its judgment dependent on checks with corresponding rules. Virtual cinematography reflecting for most parts real human behavior in one or several 1. Introduction groups interacting. The major industry lays in Crowd simulation is all about simulating a making films and games using 3D computer large number of entities, also known as agents graphics but is also used for public safety as a greater group, instead of individuals. -
Interactive Rendering in the Post-GPU Era
Interactive Rendering In The Post-GPU Era Matt Pharr Graphics Hardware 2006 Last Five Years • Rise of programmable GPUs – 100s/GFLOPS compute – 10s/GB/s bandwidth • Architecture characteristics have deeply influenced s/w and algorithm development • Revolution in interactive graphics as software has exploited new hardware Next Five Years: A Second Revolution • Continued GPU innovation • CPUs finally providing FLOPS as well – Don’t require nearly as much parallelism • Shared memory/high bandwidth interconnect enable flexible computation model • Future role of today's graphics APIs is unclear Overview • The transition to programmable GPUs and the importance of computation in interactive rendering • New heterogeneous architectures • Implications for graphics software – Implementation challenges and opportunities – Increasing importance of software to drive complex hardware • Longer-term trends and convergence? Offline Rendering 5 Years Ago Shrek (PDI/Dreamworks) Interactive 5 Years Ago Quake 3 (id Software) Modern Offline Rendering Madagascar (PDI/Dreamworks) Modern Interactive Rendering Project Gotham Racing Modern Offline Rendering Starship Troopers 2 (Tippett Studio) Modern Interactive Rendering I-8 (Insomniac Games) What’s Happened In The Last 5 Years? • GPUs have taken advantage of semiconductor trends to deliver performance • GPU strengths/weaknesses have sparked innovation in algorithms and software – Interactive graphics is about computation • Interactive is delivering near-offline quality 1,000,000x faster GPU Architecture Has Led -
Sun Bladetm 100 Workstation Just the Facts Copyrights
Sun BladeTM 100 Workstation Just the Facts Copyrights ©2001 Sun Microsystems, Inc. All Rights Reserved. Sun, Sun Microsystems, the Sun logo, Sun Blade, Solaris, StarOffice, Ultra, Java, Java 3D, iPlanet, OpenWindows, PGX24, PGX32, VIS, SunPCi, Sun Workstation, Solaris Resource Manager, Solstice, Solstice AutoClient, SunVTS, ShowMe, ShowMe TV, ShowMe How, AnswerBook, AnswerBook2, Sun OpenGL for Solaris, Sun StorEdge, SunMicrophone, SunATM, SunClient, SunSpectrum, SunSpectrum Platinum, SunSpectrum Gold, SunSpectrum Silver, SunSpectrum Bronze, and SunSolve are trademarks or registered trademarks of Sun Microsystems, Inc. in the United States and other countries. All SPARC trademarks are used under license and are trademarks or registered trademarks of SPARC International, Inc. in the United States and other countries. Products bearing SPARC trademarks are based upon an architecture developed by Sun Microsystems, Inc. UNIX is a registered trademark in the United States and other countries, exclusively licensed through X/Open Company, Ltd. FireWire is a trademark of Apple Computer, Inc., used under license. OpenGL is a registered trademark of Silicon Graphics, Inc. Display PostScript and PostScript are trademarks of Adobe Systems, Incorporated, which may be registered in certain jurisdictions. Netscape is a trademark of Netscape Communications Corporation. Last update: 9/22/01 Just the Facts September 2001 2 Table of Contents Positioning............................................................................................................................................................5