DOCSLIB.ORG

Michael L. Takayama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Michael L. Takayama Michael L. Takayama ____________________________________________________________________________________________________ [email protected] http://www.takware.com +1.808.589.9808 mobile ____________________________________________________________________________________________________ SUMMARY (as of September 2013) Technical • Thirty-four (34) years experience in software engineering and programming. • Thirty (30) years experience in building, repairing and maintaining computer hardware systems. • Twenty-six (26) years experience in computer graphics software development. Production • Fifteen (15) years experience in computer graphics animation, special effects and media production for film, television, Internet, theme parks and special venues. Management • Four (4) years experience in executive management, including management of an overseas facility in China. • Eighteen (18) years experience in supervision of teams and projects, including coordination of distributed teams. • Seventeen (17) years experience in business management, with large companies, small businesses and start-ups. ____________________________________________________________________________________________________ TECHNICAL SKILLS Recent or frequently used skills: • 3D computer graphics & animation software development • 2D image processing software development • Application, library and tool software development • C programming language • OpenGL (graphics), OpenAL (audio) application programming interfaces • TCP/IP network programming • XML, HTML markup languages • Win32/64, Linux operating systems • Adobe Photoshop graphics editing software • Microserver hardware design Older or less frequently used skills: • C++, Java, Fortran, Pascal, LISP, BASIC programming languages • Perl, Tcl/Tk, C shell, Windows shell scripting languages • X (OSF/Motif) window system • COLLADA interchange file format • DHTML, JSP, JavaScript web programming • SQL programming and database management • UNIX (IRIX), Linux, Windows Server systems administration • Crytek CryENGINE2 game engine • Autodesk Maya. 3ds Max 3D computer graphics software • TDI Explore, Alias PowerAnimator, SideEffects Prisms 3D computer graphics software • Wavefront Composer 2D image manipulation and Dynamation particle systems software • Adobe Premiere Pro video editing and Adobe Encore DVD authoring software Michael L. Takayama • SGI and HP graphics workstations • Microprocessor assembly programming languages • VAX/VMS, IBM/MVS, CDC/NOS, Cray/COS operating systems • Building/repairing MS/Windows and UNIX workstation/server systems • Professional video production using broadcast and industrial equipment, including ENG camera work • Interfacing microcomputer systems to real-time applications (control and data acquisition) • Electronic systems (design, analysis, assembly) and laser systems (Nd:YAG, dye, CO2, HeNe) • Photographic and darkroom equipment WORK EXPERIENCE takware.com - Honolulu (HI), Fresno (CA) May 2009 to Present Engineer Software development, technology & business consulting. Avatar Reality, Inc. - Honolulu (HI) Sep 2007 to May 2009 Tools Development Lead Development of software tools to support the content production pipeline for the Blue Mars online virtual world. Additional tasks included staff recruitment; editing employee handbook; debugging game development issues. US Peace Corps - Nuku'alofa (Kingdom of Tonga) Jul 2005 to Sep 2007 Peace Corps Volunteer Served in the Community Micro-Enterprise Development program in the Kingdom of Tonga. Assigned to primary site as Business and IT consultant to the Free Wesleyan Church of Tonga. During second year of service, upon request of Peace Corps Tonga, assumed an additional site assignment as Director of Business Development Services - a collaboration of the Tonga Chamber of Commerce & Industry and the Ministry of Labour, Commerce & Industries. Neoglyphiks, Inc. - Marina del Rey (CA) Sep 2004 to Jul 2005 President/Engineer Computer graphics/animation production and technology development services. Work included computer graphics/animation production; software development; production and technical support; facility design; business and technical consulting. Projects included broadcast, commercial, and corporate animation; film and television special effects; cartoon animation/production; theme park ride development; trade shows; game development; multimedia development; Internet; architectural visualization; scientific and engineering visualization. Additional responsibilities included general administration; finance and accounting; marketing and sales; client and contractor relations. Univessence Digital Studios - Los Angeles (CA), Shenzhen (China), Tokyo (Japan) Jul 2000 to Sep 2004 Chief Technology Officer Executive in an international company involved in multimedia businesses, including website design; e-commerce systems; 2D/3D animation production; computer games; application software. Responsible for technology matters for company operations, research and development, merger/acquisition investment, and strategic partnerships worldwide. Additional responsibilities included supervision of research and development efforts; development of new methodologies for distributing work overseas; operations management; business and financial planning/analysis; technology evaluation; coordination with overseas offices and strategic partners; specification and supervision of corporate IT infrastructure and systems support; patent writing; export control compliance; client management; sales and marketing. Chief Executive Officer (Acting), UDS Shenzhen Executive in charge of a software development and multimedia production facility located in Shenzhen, China. Developed novel remote management techniques to enable effective management of facility operations via on-site senior managers. Responsibilities included executive and operations management; coordination with other corporate offices; oversight and planning of financial, legal, and human resources issues. Neoglyphiks, Inc. - Marina del Rey (CA) Jun 1997 to Jul 2000 President/Engineer Computer graphics/animation production and technology development services. Michael L. Takayama Walt Disney Feature Animation - Burbank (CA), Orlando (FL) Oct 1995 to Jun 1997 Technical Lead - Production Software Technical management of the software development teams assigned to films in production, in California and Florida. Technical supervision of the development of the Attila crowd system for Mulan and the revolutionary Deep Canvas 3D background system for Tarzan. Primary technical liaison between Alias/Wavefront's R&D group and the Dinosaur production team during Maya software development. Additional responsibilities included support to show producers and production managers; recruitment and training; technology selection; production methodologies; resource allocation and scheduling; interface with vendors and consultants. Technical Director Technical support and software development on the animated motion picture, Fantasia 2000. Worked directly with animators, technical directors, and directors, on a daily basis, defining and resolving various production problems. Responsible for development, documentation, and maintenance of in-house and third-party animation tools. Neoglyphiks, Inc. - Marina del Rey (CA) Jan 1994 to Oct 1995 President/Engineer Computer graphics/animation production and technology development services. Sony Pictures Imageworks - Culver City (CA) Aug 1993 to Jan 1994 Software Engineer Technical support and software development for the digital production group on motion picture and television projects. Worked directly with animators, technical directors, and visual effects supervisors, on a daily basis, defining and resolving various production problems. Responsible for development, documentation, and maintenance of in-house image processing tools. Neoglyphiks, Inc. - Kissimmee (FL), Marina del Rey (CA) Aug 1991 to Aug 1993 President/Engineer Computer graphics/animation production and technology development services. Maui Animation Design Toon F/X - Orlando (FL) Mar 1991 to Aug 1991 Director, Research & Development 3D computer animation start-up. Company failed due to investor's financial difficulties. Thomson Digital Image America - Culver City (CA), New York (NY), Paris (France) Mar 1990 to Mar 1991 Technical Support Manager - Americas Technical and engineering support to customers in North and South America, for the TDI Explore 3D animation system. Primary responsibilities included finding solutions for specialized customer needs; providing technical support for installation, training, and hotline operations; working cooperatively with TDI corporate, sales, and technical management in the United States and in France; and maintaining relations with technical personnel and management from Silicon Graphics and IBM. Additional responsibilities included custom software development; beta software testing; coordination of hardware, software, and video installations for major trade shows and demonstrations. The Aerospace Corporation - El Segundo (CA) Jun 1985 to Mar 1990 Member of the Technical Staff, Computer-Aided Engineering Department Development of CAE graphics software tools for various engineering applications. Project lead on Astrodynamics Graphics Development Tools project to create general-purpose graphics development tools and re-usable software libraries for astrodynamics applications programming. Responsible for specification, development, and support of computer animation video
Load more

Recommended publications
  • 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.
    [Show full text]
  • NCSA Access Magazine
    CONTACTS NCSA Contacts Directory http://www.ncsa.uiuc.edu/Generai/NCSAContacts.html Allocations Education & Outreach Division Orders for Publications, http://www.ncsa.uiuc.edu/Generai/A IIocations/ApplyTop.html http://www.ncsa.uiuc.edu/edu/EduHome.html NCSA Software, and Multimedia Radha Nandkumar John Ziebarth, Associate Director http://www.ncsa.uiuc.edu/Pubs/ 217-244-0650 217-244-1961 TechResCatalog/TRC.TOC.html [email protected] [email protected] Debbie Shirley [email protected] Applications Division/Faculty Program Education http://www.ncsa.uiuc.ed u/Apps/Apps lntro.html Scott Lathrop Public Information Office Melanie Loots, Associate Director 217-244-1099 http://www.ncsa.uiuc.edu/General/ 217-244-2921 [email protected] PIO/NCSAinfo.html [email protected] i uc.edu John Melchi Outreach 217-244-3049 Al lison Clark (information) Alai na Kanfer 217-244-8195 fax 217-244-0768 217-244-0876 [email protected] [email protected] i uc.edu [email protected] Publications Group Visitors Program Training http://www.ncsa.uiuc.edu/Pubs/ jean Soliday http://www.ncsa.uiuc.edu/General/ Pubslntro.html 217-244-1972 Training/training_homepage.html Melissa Johnson [email protected] u Mary Bea Walker 217-244-0645 217-244-9883 melissaj@ncsa .uiuc.edu Computing & Communications Division mbwalker@ncsa .uiuc.edu http://www.ncsa.uiuc.edu/Generai/CC/CCHome.html Software Development Division Charles Catlett, Associate Director Industrial Program http ://www.ncsa.uiuc.edu/SDG/SDGintro.html 217-333-1163 http://www.ncsa.uiuc.edu/General/lndusProg/ joseph Hardin, Associate Director [email protected] lndProg.html 217-244-7802 John Stevenson, Corporate Officer hardin@ncsa .uiuc.edu Ken Sartain (i nformation) 217-244-0474 217-244-0103 [email protected] jae Allen (information) sartain@ ncsa.u iuc.edu 217-244-3364 Marketing Communications Division [email protected] Consulting Services http://www.ncsa.uiuc.edu/Generai/MarComm/ http://www.ncsa.
    [Show full text]
  • Appre Hender Les Personnages En 3D : Quelques Principes Fondamentaux Du Rig
    Universite Paris 8 Master Arts Mention : Arts Plastiques et Art Contemporain Spe cialite : Arts et Technologies de l'Image Virtuelle Appre hender les personnages en 3D : quelques principes fondamentaux du rig Rodolphe Zirah Me moire de Master 2 2013- 2014 Résumé Le rig est un enjeu majeur de la production des films d’animation en images de synthèse d’aujourd’hui, tout en étant caché dans l’ombre du travail de l’animateur. Pourtant, pour qu’une animation soit réussie, il faut que le rig soit bien pensé. Il faut donc créer son rig en pensant à rendre le travail des animateurs plus simple et intuitif, et certains choix du riggeur peuvent influencer fortement sur la qualité de l’animation et sur le temps de production. Cette étude se découpe en trois parties. Nous commencerons pas un état de l’art bref qui nous montrera que le rig existe bien avant la 3D, avec les créatures en volume de toutes l’histoire du cinéma d’animation. Nous discuterons ensuite de technique de rig à proprement parler. Nous donnerons, dans une deuxième partie, les principes fondamentaux nécessaires à la bonne compréhension et à la bonne réalisation d’un rig, en général. Puis nous détaillerons, dans une troisième partie, des cas particuliers de rig - personnage mécanique et rig facial- à partir d’étude de productions. On utilisera Maya (2013) comme outil principal. Abstract Nowadays, character rigging is one of major issue of animated films, while hidden in the shadow of animation work. Yet, for a movie to be successful it is necessary that the rig is well thought out.
    [Show full text]
  • 3D Computer Graphics Compiled By: H
    animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between
    [Show full text]
  • Graphics, 3D Modeling, Cad and Visual Computing 6/19/17, 952 AM
    Computer Graphics World - graphics, 3d modeling, cad and visual computing 6/19/17, 952 AM Article Search Advanced | Help CURRENT ISSUE August 2003 Part 7: Movie Retrospective Celebrating our 25th year with digital visual effects and scenes from animated features By Barbara Robertson Although Looker (1981) was the first film with shaded 3D com puter graphics, Tron (1982) was the first with 15 minutes of computer animation and lots of shaded graphics. Some believe Tron's box office failure slowed the adoption of digital effects, but now most films include computer graph ics. Indeed, last year, of the top 10 box office films, eight had hundreds of digital effects shots or were created entirely with 3D computer graphics. During the past two decades, CG inventors have been in spired by filmmaking to create exciting new tools. In so doing, they have in spired filmmakers to expand the art of filmmaking-as you can see on the following pages. What's next? CG tools move QUICK VOTE downstream. Synergy gets energy. Sponsored by: (The date at the beginning of each caption refers to the issue of Computer Graphics World in which the image and credit appeared. The film's release date follows the Which of the following caption.) digital video tools do you use/plan to use? (Check July 1982 For this one-minute "Genesis effect" during all that apply.) Star Trek II: The Wrath of Khan, a dead planet comes DV cameras to life thanks to the first cinematic use of fractals, particle effects, and 32-bit RGBA paint software from DV effects Lucasfilm's Pixar group.
    [Show full text]
  • Autodesk® 3Ds Max® 2016 Essentials
    AUTODESK® 3DS MAX® 2016 ESSENTIALS AUTODESK® 3DS MAX® 2016 ESSENTIALS Randi L. Derakhshani Dariush Derakhshani Acquisitions Editor: Stephanie McComb Development Editor: Clark David Technical Editor: Jon McFarland Production Editor: Joel Jones Copy Editor: Kathy Grider-Carlyle Editorial Manager: Mary Beth Wakefield Production Manager: Kathleen Wisor Associate Publisher: Jim Minatel Proofreader: Kathryn Duggan Indexer: Nancy Guenther Project Coordinator, Cover: Brent Savage Cover Designer: Wiley Cover Image: Courtesy of Dariush Derakhshani; Back Cover Images: Courtesy of Randi L. Derakhshani Copyright © 2015 by John Wiley & Sons, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-1-119-05976-9 ISBN: 978-1-119-05990-5 (ebk.) ISBN: 978-1-119-05989-9 (ebk.) No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for per- mission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: The publisher and the authors make no representations or war- ranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose.
    [Show full text]
  • Stop Motion & Motion Capture Stop Motion
    VolVol 22 IssueIssue 1111 February 1998 Stop Motion & Motion Capture The Politics of Performance Animation FoamFoam PuppetPuppet FrabicationFrabication ExplainedExplained BarryBarry Purves Purves ThrowsThrows DownDown thethe GauntletGauntlet Little Big Estonia InsideInside MedialabMedialab Table of Contents February, 1998 Vol. 2, No. 11 4 Editor’s Notebook Animation and its many changing faces... 5 Letters: [email protected] STOP-MOTION & MOTION-CAPTURE 6 Who’s Data Is That Anyway? Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new fron- tier of dilemmas, the politics of performance animation. 9 Boldly Throwing Down the Gauntlet In our premier issue, acclaimed stop-motion animator Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry’s back to share his thoughts on the last two years that have been both exhilarating and disappointing for him. 14 A Conversation With... In a small, quiet cafe, motion-capture pioneer Chris Walker and outrageous stop-motion animator Corky Quakenbush got together for lunch and discovered that even though their techniques may appear to be night and day, they actually have a lot in common. 21 At Last, Foam Puppet Fabrication Explained! How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice. 27 Little Big Estonia:The Nukufilm Studio On the 40th anniversary of Estonia’s Nukufilm, Heikki Jokinen went for a visit to profile the puppet ani- mation studio and their place in the post-Soviet world. 31 Wallace & Gromit Spur Worldwide Licensing Activity Karen Raugust takes a look at the marketing machine behind everyone’s favorite clay characters, Wallace & Gromit.
    [Show full text]
  • Independent Filmmakers and Commercials
    Vol.Vol. 33 IssueIssue 77 October 1998 Independent Filmmakers and Commercials Balancing Commercials & Personal Work William Kentridge ItalyÕs Indy Scene U.K. Opps for Independents Max and His Special Problem Plus: The Budweiser Frogs & Lizards, Barry Purves and Glenn Vilppu TABLE OF CONTENTS OCTOBER 1998 VOL.3 NO.7 Table of Contents October 1998 Vol. 3, No. 7 4 Editor’s Notebook The inventiveness of independents... 5 Letters: [email protected] 7 Dig This! Animation World Magazine takes a jaunt into the innovative and remarkable: this month we look at fashion designer Rebecca Moses’ animated film, The Discovery of India. INDEPENDENT FILMMAKERS 8 William Kentridge: Quite the Opposite of Cartoons The amazing animation films of South African William Kentridge are discussed in depth by Philippe Moins. Available in English and French. 14 Italian Independent Animators Andrea Martignoni relates the current situation of independent animation in Italy and profiles three current indepen- dents: Ursula Ferrara, Alberto D’Amico, and Saul Saguatti. Available in English and Italian. 21 Eating and Animating: Balancing the Basics for U.K. Independents 1998 Marie Beardmore relays the main paths that U.K. animators, seeking to make their own works, use in order to obtain funding to animate...and eat! 25 Animation in Bosnia And Herzegovina:A Start and an Abrupt Stop In the shadow of Zagreb, animation in Bosnia and Herzegovina never truly developed until soon before the war...only to be abruptly halted. Rada Sesic explains. COMMERCIALS 30 Bud-Weis-Er: Computer-Generated Frogs and Lizards Give Bud a Boost As Karen Raugust explains, sometimes companies get lucky and their commercials become their own licensing phe- nomena.
    [Show full text]
  • Computer Graphics and 3D 1
    Introducing Autodesk ® Maya® 2014 Introducing Autodesk ® Maya® 2014 DARIUSH DERAKHSHANI Acquisitions Editor: Mariann Barsolo Development Editor: Stephanie Barton Technical Editor: Keith Reicher Production Editor: Eric Charbonneau Copy Editor: Kim Wimpsett Editorial Manager: Pete Gaughan Production Manager: Tim Tate Vice President and Executive Group Publisher: Richard Swadley Vice President and Publisher: Neil Edde Book Designer: Caryl Gorska Compositor: Kate Kaminski, Happenstance Type-O-Rama Proofreader: Sara Eddleman and James Saturnio, Word One New York Indexer: Ted Laux Project Coordinator, Cover: Katherine Crocker Cover Designer: Ryan Sneed Cover Image: Dariush Derakhshani Copyright © 2013 by John Wiley & Sons, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-1-118-57490-4 ISBN: 978-1-118-71841-4 (ebk.) ISBN: 978-1-118-73244-1 (ebk.) ISBN: 978-1-118-71854-4 (ebk.) No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose.
    [Show full text]
  • I Lev Manovich the Language of New Media
    I Lev Manovich The Language of New Media II To Norman Klein / Peter Lunenfeld / Vivian Sobchack III Table of Contents Prologue: Vertov’s Dataset.................................................................................VI Acknowledgments........................................................................................ XXVII Introduction ......................................................................................................... 30 A Personal Chronology........................................................................... 30 Theory of the Present.............................................................................. 32 Mapping New Media: the Method.......................................................... 34 Mapping New Media: Organization ....................................................... 36 The Terms: Language, Object, Representation ...................................... 38 I. What is New Media?........................................................................................ 43 Principles of New Media.............................................................................. 49 1. Numerical Representation................................................................... 49 2. Modularity .......................................................................................... 51 3. Automation ......................................................................................... 52 4. Variability ..........................................................................................
    [Show full text]
  • The Process of Combining Animation with Live-Action Films
    THE PROCESS OF COMBINING ANIMATION WITH LIVE-ACTION FILMS Tuomas Anton Tulijoki Bachelor’s thesis May 2018 Degree Programme in Media 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media Tulijoki Tuomas The Process of Combining Animation with Live-action Films Bachelor’s thesis 42 pages, appendices 1 2018 ___________________________________________________ The purpose of this thesis was to examine the process of performing the setup for animating digital characters on top of filmed footage. During my internship I saw some issues in the working processes of the company I was working with, specifically how the company handled animating characters on top of filmed footage. In order to research this topic, the methods used by modern visual effects artists were studied, to see how they went about the process of creating visual effects and animation on top of live-action footage. A single test shot was filmed, and set up for animation using the information that was gathered. The methods used were functional, and the entire process of filming, setting up and animating was tested. However, due to the lack of professional tools and experience with the techniques used, the end results were only mediocre at best. In the end, the writer of the thesis could not perfectly animate over the filmed footage in such a way that it could be accepted in a professional environment, even if a general understanding on how the process works was reached. 3 1 INTRODUCTION………….………………………………..……………...……....5 2 THE
    [Show full text]
  • Web Standaard Volledige Naam Tekst/Binair Compressie Open
    Web Geometrie complexiteit Punten Standaard Volledige naam Tekst/Binair Compressie Open/Gesloten Organisatie Semantiek Attributen CRS Ondersteuning (lijn, boundary, solid) ondersteuning VRML Virtual Reality Mark-up Language Tekst (XML) X (gzip) Open ISO/IEC 14772-1:1997 X - - Solid X X3D Binair - Open ISO/IEC JTC 1/SC 24 X - X Solid X U3D Universal 3D Tekst (XML) X Open ECMA TC43 X - - Boundary X 3D Tiles Binair (Json + glTF) X Open OGC (Pending) X X X Solid X 3DPS 3D Portrayal Service Tekst (X3D, VRML, CityGML) X Open OGC (Pending) X X X Solid X X3DOM Tekst (X3D) - Open Fraunhofer IGD X X - Solid X XML3D Tekst (XML + Json) - Open (CC BY 3.0) DFKI, Saarland University, Intel VCI X - X Boundary X WFS 1.1.0 - 2.0 Web Feature Service Tekst (GML3) - Open OGC 09-025r2 / ISO 19142 X X X Solid X I3S Indexed 3D Scene Layers Binair (Json + bin) X Open OGC (Pending) X X X Solid X Objecten Geometrie complexiteit Punten Standaard Volledige naam Tekst/Binair Compressie Open/Gesloten Organisatie Semantiek Attributen CRS Ondersteuning (lijn, boundary, solid) ondersteuning COLLADA COLLAborative Design Activity Tekst (XML) - Open Khronos X - - Solid X FBX FilmBoX Tekst of Binair - Gesloten Autodesk X - - Boundary - OBJ WaveFront OBJ Tekst - Open Wavefront X - - Boundary X PLY Polygon File Format Tekst - Open Stanford University X - - Boundary X OFF Object File Format Tekst - Open Princeton University - - - Boundary X 3DS 3D Studio Mesh Binair - Gesloten Autodesk X - - Solid - glTF gl Transport Format Binair X Open Khronos X X - Boundary X CZML Cesium Language
    [Show full text]