3D Models and Toolkits
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Studio Toolkit for Flexibles 14 User Guide
Studio Toolkit for Flexibles 14 User Guide 06 - 2015 Studio Toolkit for Flexibles Contents 1. Copyright Notice.......................................................................................................................................................................... 4 2. Introduction.....................................................................................................................................................................................6 2.1 About Studio....................................................................................................................................................................... 6 2.2 Workflow and Concepts................................................................................................................................................. 7 2.3 Quick-Start Tutorial...........................................................................................................................................................8 3. Creating a New Bag.................................................................................................................................................................12 3.1 Pillow Bags........................................................................................................................................................................13 3.1.1 Panel Order and Fin vs. Lap Seals.............................................................................................................14 3.2 Gusseted Bags.................................................................................................................................................................15 -
Key Aspects in 3D File Format Conversions
Key Aspects in 3D File Format Conversions Kenton McHenry and Peter Bajcsy Image Spatial Data Analysis Group, NCSA Presented by: Peter Bajcsy National Center for Supercomputing Applications University of Illinois at Urbana-Champaign Outline • Introduction • What do we know about 3D file formats? • Basic Archival Questions • Is there an optimal format to convert to? • Can we quantify 3D noise introduced during conversions? • NCSA Polyglot to Support Archival Processes • Automation of File Format Conversions • Quality of File Format Conversions • Scalability with Volume • Conclusions • Live demonstration Introduction Introduction to 3D File Format Reality *.k3d *.pdf (*.prc, *.u3d) *.ma, *.mb, *.mp *.w3d *.lwo *.c4d *.dwg *.blend *.iam *.max, *.3ds Introduction: Our Survey about 3D Content • Q: How Many 3D File Formats Exist? • A: We have found more than 140 3D file formats. Many are proprietary file formats. Many are extremely complex (1,200 and more pages of specifications). • Q: How Many Software Packages Support 3D File Format Import, Export and Display? • A: We have documented about 16 software packages. There are many more. Most of them are proprietary/closed source code. Many contain incomplete support of file specifications. Examples of Formats and Stored Content Format Geometry Appearance Scene Animation Faceted Parametric CSG B-Rep Color Material Texture Bump Lights Views Trans. Groups 3ds √ √ √ √ √ √ √ √ √ igs √ √ √ √ √ √ √ lwo √ √ √ √ √ √ obj √ √ √ √ √ √ √ ply √ √ √ √ √ stp √ √ √ √ √ √ wrl √ √ √ √ √ √ √ √ √ √ √ u3d √ √ √ √ √ -
Compression and Streaming of Polygon Meshes
Compression and Streaming of Polygon Meshes by Martin Isenburg A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Computer Science. Chapel Hill 2005 Approved by: Jack Snoeyink, Advisor Craig Gotsman, Reader Peter Lindstrom, Reader Dinesh Manocha, Committee Member Ming Lin, Committee Member ii iii ABSTRACT MARTIN ISENBURG: Compression and Streaming of Polygon Meshes (Under the direction of Jack Snoeyink) Polygon meshes provide a simple way to represent three-dimensional surfaces and are the de-facto standard for interactive visualization of geometric models. Storing large polygon meshes in standard indexed formats results in files of substantial size. Such formats allow listing vertices and polygons in any order so that not only the mesh is stored but also the particular ordering of its elements. Mesh compression rearranges vertices and polygons into an order that allows more compact coding of the incidence between vertices and predictive compression of their positions. Previous schemes were designed for triangle meshes and polygonal faces were triangulated prior to compression. I show that polygon models can be encoded more compactly by avoiding the initial triangulation step. I describe two compression schemes that achieve better compression by encoding meshes directly in their polygonal representation. I demonstrate that the same holds true for volume meshes by extending one scheme to hexahedral meshes. Nowadays scientists create polygonal meshes of incredible size. Ironically, com- pression schemes are not capable|at least not on common desktop PCs|to deal with giga-byte size meshes that need compression the most. -
3D Graphics Fundamentals
11BegGameDev.qxd 9/20/04 5:20 PM Page 211 chapter 11 3D Graphics Fundamentals his chapter covers the basics of 3D graphics. You will learn the basic concepts so that you are at least aware of the key points in 3D programming. However, this Tchapter will not go into great detail on 3D mathematics or graphics theory, which are far too advanced for this book. What you will learn instead is the practical implemen- tation of 3D in order to write simple 3D games. You will get just exactly what you need to 211 11BegGameDev.qxd 9/20/04 5:20 PM Page 212 212 Chapter 11 ■ 3D Graphics Fundamentals write a simple 3D game without getting bogged down in theory. If you have questions about how matrix math works and about how 3D rendering is done, you might want to use this chapter as a starting point and then go on and read a book such as Beginning Direct3D Game Programming,by Wolfgang Engel (Course PTR). The goal of this chapter is to provide you with a set of reusable functions that can be used to develop 3D games. Here is what you will learn in this chapter: ■ How to create and use vertices. ■ How to manipulate polygons. ■ How to create a textured polygon. ■ How to create a cube and rotate it. Introduction to 3D Programming It’s a foregone conclusion today that everyone has a 3D accelerated video card. Even the low-end budget video cards are equipped with a 3D graphics processing unit (GPU) that would be impressive were it not for all the competition in this market pushing out more and more polygons and new features every year. -
How to Use the 3D Printer STEP 1: Design Your 3D Part on a CAD
How to use the 3D Printer STEP 1: Design your 3D part on a CAD software What is it CAD Software? CAD (computer-aided design) software allows you to create 3D objects to print. Where can I get CAD Software? SolidWorks is a professional CAD software available free for SDSU students. Download SolidWorks at: http://engineering.sdsu.edu/support/ If you are a beginner, you can create 3D models using simple free software online. Among the most popular are: Google Sketchup, Wings 3D, Blender, and Sculptris. Optional step only if you are printing more than one part at a time? If you are printing more than one part you need to designate where you want the part printed on the printable platform. 1. Download and install the Makerbot Makerware Software found at http://www.makerbot.com/makerware/ 2. Open the MakerWare 3. Click “Add” to upload each of your parts. Upload the original file format (e.g. SolidWorks file format), not an .stl file 4. Move your parts until they are located in the desired spot. 5. Click “Make” to save your parts as an .stl file 6. Skip to STEP 3 STEP 2: Save your part as an stl. file using your CAD software. What is an .stl file? An .stl file is a language that 3D printers can read. If you try to print a SolidWorks or Google Sketchup file the 3D printer will not recognize it. STEP 3: Insert your .stl file on the 3D printer SD Card. The SD Card is plugged in near the control panel of the 3D Printer. -
Making a Game Character Move
Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future. -
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. -
Automatic 2.5D Cartoon Modelling
Automatic 2.5D Cartoon Modelling Fengqi An School of Computer Science and Engineering University of New South Wales A dissertation submitted for the degree of Master of Science 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES T hesis!Dissertation Sheet Surname or Family name. AN First namEY. Fengqi Orner namels: Zane Abbreviatlo(1 for degree as given in the University calendar: MSc School: Computer Science & Engineering Faculty: Engineering Title; Automatic 2.50 Cartoon Modelling Abstract 350 words maximum: (PLEASE TYPE) Declarat ion relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole orin part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of thts thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation· Abstracts International (this is applicable to-doctoral theses only) .. ... .............. ~..... ............... 24 I 09 I 2012 Signature · · ·· ·· ·· ···· · ··· ·· ~ ··· · ·· ··· ···· Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writi'ng. Requests for -
Blender Instructions a Summary
BLENDER INSTRUCTIONS A SUMMARY Attention all Mac users The first step for all Mac users who don’t have a three button mouse and/or a thumb wheel on the mouse is: 1.! Go under Edit menu 2.! Choose Preferences 3.! Click the Input tab 4.! Make sure there is a tick in the check boxes for “Emulate 3 Button Mouse” and “Continuous Grab”. 5.! Click the “Save As Default” button. This will allow you to navigate 3D space and move objects with a trackpad or one-mouse button and the keyboard. Also, if you prefer (but not critical as you do have the View menu to perform the same functions), you can emulate the numpad (the extra numbers on the right of extended keyboard devices). It means the numbers across the top of the standard keyboard will function the same way as the numpad. 1.! Go under Edit menu 2.! Choose Preferences 3. Click the Input tab 4.! Make sure there is a tick in the check box for “Emulate Numpad”. 5.! Click the “Save As Default” button. BLENDER BASIC SHORTCUT KEYS OBJECT MODE SHORTCUT KEYS EDIT MODE SHORTCUT KEYS The Interface The interface of Blender (version 2.8 and higher), is comprised of: 1. The Viewport This is the 3D scene showing you a default 3D object called a cube and a large mesh-like grid called the plane for helping you to visualize the X, Y and Z directions in space. And to save time, in Blender 2.8, the camera (left) and light (right in the distance) has been added to the viewport as default. -
Visualization Tools and Trends a Resource Tour the Obligatory Disclaimer
Visualization Tools and Trends A resource tour The obligatory disclaimer This presentation is provided as part of a discussion on transportation visualization resources. The Atlanta Regional Commission (ARC) does not endorse nor profit, in whole or in part, from any product or service offered or promoted by any of the commercial interests whose products appear herein. No funding or sponsorship, in whole or in part, has been provided in return for displaying these products. The products are listed herein at the sole discretion of the presenter and are principally oriented toward transportation practitioners as well as graphics and media professionals. The ARC disclaims and waives any responsibility, in whole or in part, for any products, services or merchandise offered by the aforementioned commercial interests or any of their associated parties or entities. You should evaluate your own individual requirements against available resources when establishing your own preferred methods of visualization. What is Visualization • As described on Wikipedia • Illustration • Information Graphics – visual representations of information data or knowledge • Mental Image – imagination • Spatial Visualization – ability to mentally manipulate 2dimensional and 3dimensional figures • Computer Graphics • Interactive Imaging • Music visual IEEE on Visualization “Traditionally the tool of the statistician and engineer, information visualization has increasingly become a powerful new medium for artists and designers as well. Owing in part to the mainstreaming -
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 -
A Procedural Interface Wrapper for Houdini Engine in Autodesk Maya
A PROCEDURAL INTERFACE WRAPPER FOR HOUDINI ENGINE IN AUTODESK MAYA A Thesis by BENJAMIN ROBERT HOUSE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Chair of Committee, André Thomas Committee Members, John Keyser Ergun Akleman Head of Department, Tim McLaughlin May 2019 Major Subject: Visualization Copyright 2019 Benjamin Robert House ABSTRACT Game development studios are facing an ever-growing pressure to deliver quality content in greater quantities, making the automation of as many tasks as possible an important aspect of modern video game development. This has led to the growing popularity of integrating procedural workflows such as those offered by SideFX Software’s Houdini FX into the already established de- velopment pipelines. However, the current limitations of the Houdini Engine plugin for Autodesk Maya often require developers to take extra steps when creating tools to speed up development using Houdini. This hinders the workflow for developers, who have to design their Houdini Digi- tal Asset (HDA) tools around the limitations of the Houdini Engine plugin. Furthermore, because of the implementation of the HDA’s parameter display in Maya’s Attribute Editor when using the Houdini Engine Plugin, artists can easily be overloaded with too much information which can in turn hinder the workflow of any artists who are using the HDA. The limitations of an HDA used in the Houdini Engine Plugin in Maya as a tool that is intended to improve workflow can actually frustrate and confuse the user, ultimately causing more harm than good.