Soars! Educating Students in Advancing Technology Who Innovate for Our Future
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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
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. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
Real-Time Soft Shadows in a Game Engine
Real-time Soft Shadows in a Game Engine Kasper Fauerby ([email protected]) Carsten Kjær ([email protected]) 14th December 2003 Abstract In this thesis we explore the possibilities of using various real-time shadow techniques in a 3d game engine. We describe a technique known as the stencil shadow algorithm and show how it can be extended to produce soft shadows from volume light sources using penumbra wedges. The penumbra wedge technique allows for real-time soft shadows in relatively simple scenes. We present a novel coverage calculation technique for spherical light sources, which significantly reduces the amount of pixel shader instructions and the amount of texture memory required for look-up tables. We identify a performance bottleneck in the algorithm which prevents the achievement of real-time performance in complex scenes, and we present a new version of the algorithm that eliminates this bottleneck for a limited class of shadow casting objects. We have implemented both versions of the soft shadow algorithm in our game engine, and we compare their respective performance on different hard- ware. Some implementation details are given, including the CG source code for the vertex and pixel shaders we have used. We discuss how to effectively manage a large number of shadow volumes in a dynamic game scene where both lights and shadow casters move around freely. Finally, we give an overview of some of the limitations in graphical hardware anno 2003 that introduce unnessesary work loads on the algorithm, thus degrading performance. Contents 1 Introduction 3 2 Lighting 7 2.1 Light models . -
Allegro CL User Guide
Allegro CL User Guide Volume 1 (of 2) version 4.3 March, 1996 Copyright and other notices: This is revision 6 of this manual. This manual has Franz Inc. document number D-U-00-000-01-60320-1-6. Copyright 1985-1996 by Franz Inc. All rights reserved. No part of this pub- lication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means electronic, mechanical, by photocopying or recording, or otherwise, without the prior and explicit written permission of Franz incorpo- rated. Restricted rights legend: Use, duplication, and disclosure by the United States Government are subject to Restricted Rights for Commercial Software devel- oped at private expense as specified in DOD FAR 52.227-7013 (c) (1) (ii). Allegro CL and Allegro Composer are registered trademarks of Franz Inc. Allegro Common Windows, Allegro Presto, Allegro Runtime, and Allegro Matrix are trademarks of Franz inc. Unix is a trademark of AT&T. The Allegro CL software as provided may contain material copyright Xerox Corp. and the Open Systems Foundation. All such material is used and distrib- uted with permission. Other, uncopyrighted material originally developed at MIT and at CMU is also included. Appendix B is a reproduction of chapters 5 and 6 of The Art of the Metaobject Protocol by G. Kiczales, J. des Rivieres, and D. Bobrow. All this material is used with permission and we thank the authors and their publishers for letting us reproduce their material. Contents Volume 1 Preface 1 Introduction 1.1 The language 1-1 1.2 History 1-1 1.3 Format -
Kinect Chapter 15. Using the Kinect's Microphone Array
Java Prog. Techniques for Games. Kinect 15. Kinect Mike. Draft #1 (14th March 2012) Kinect Chapter 15. Using the Kinect's Microphone Array The previous chapter was about speech recognition, with audio recorded from the PC's microphone rather than the Kinect. Frankly, a bit of a cheat, but still useful. This chapter shows how to capture sound from the Kinect's microphone array, so there's no longer any need to feel guilty about using an extra microphone. The trick is to install audio support from Microsoft's Kinect SDK which lets Windows 7 treat the array as a standard multichannel recording device. Care must be taken when mixing this audio driver with OpenNI, but the payoff is that the microphone array becomes visible to Java's sound API. The main drawback is that this only works on Windows 7 since Microsoft's SDK only supports that OS. My Java examples start with several tools for listing audio sources and their capabilities, such as the PC's microphone and the Kinect array. I'll also describe a simple audio recorder that reads from a specified source and saves the captured sound to a WAV file. One of the novel features of Microsoft's SDK is support for beamforming – the ability to calculate the direction of an audio source. It's possible to duplicate this using the Java SoundLocalizer application developed by Laurent Calmes (http://www.laurentcalmes.lu). I finish with another version of my audio-controlled Breakout game, this time employing the Kinect's microphone array instead of the PC's mike. -
NEXUS User Manual 210518
LIVE STREAMER NEXUS User Manual Technical Specifications 2 System Requirements 2 Hardware I/O 3 Connections 4 Next-Gen console 4 Nintendo Switch 4 Dual PC 5 Dual PC (With in-game Chat) 5 Download NEXUS app 6 Windows 6 macOS 7 NEXUS Setup 8 User Manual AVerMedia Account Setup 8 NEXUS Log in 9 NEXUS Windows 10 Audio Routing Settings 9 macOS Audio Routing Settings 12 Hardware settings 15 Audio Mixer settings 17 Microphone Settings 17 Single Mix Settings 20 Dual Mix Settings 23 Control Panel Setup (Hotkeys & Widgets) 27 OBS Setup 30 OBS Websocket Plugin 31 For Windows 31 For macOS 31 SLOBS Setup 33 SLOBS Token Plugin 34 Future updates 35 Hotkey & Widget Profiles 36 Audio Profiles 37 1 of 39 Technical Specifications Interface USB 2.0, type B (Driver Required) Mic In XLR (Balanced) / 6.3 mm (Single-end) x1 Console In Optical In (Toslink) x1 Computer Inputs Digital Tracks x3 Headphone Out and Line Out 3.5mm TRS, Stereo Output Mix Creator Mix / Audience Mix Sampling Rate Up to 96kHz,24 bits Microphone Effect Noise Gate, Reverb, Compressor, Equalizer Frequency Response 10Hz to 20kHz Dynamic Response 114dB Screen Panel 5” IPS Touch Panel Widgets Interactive & Customizable Grid User Manual Rotational Encoders 6 (Physical inputs x3 / Digital inputs x3) Lighting RGB NEXUS Power Switch Yes Power Inputs Standard 12V DC, Center Negative, 1.5A Power Consumption < 7W Without Stand: 21.7 x 14.5 x 6.1 cm (5.7 x 8.5 x 2.4 in) Dimensions With Stand: 21.7 x 14.5 x 9.4 cm (5.7 x 8.5 x 3.7 in) Without Stand: 0.699 kg (24.66 oz) Weight With Stand: 0.843 kg (29.74 oz) Note: - Phantom Power +48V, switchable via NEXUS APP System Requirements Windows: Windows 10 20H2 (64bit) and above Mac: macOS 10.15 and above 2 of 39 Hardware I/O User Manual NEXUS 3 of 39 Connections Next-Gen console1 User Manual NEXUS Nintendo Switch 1 - PS5, Xbox X/S Series requires an HDMI to Optical adapter, sold separately. -
A History of Rhythm, Metronomes, and the Mechanization of Musicality
THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC -
User Manual Upstreamtm Pro Dual Video Capture Adapter
User Manual UpStreamTM Pro Dual Video Capture Adapter GUV322 PART NO. M1634 www.iogear.com Table of Contents User Notice ����������������������������������������������������������������������������������������������������������������������������������������������������������������4 About this Manual ������������������������������������������������������������������������������������������������������������������������������������������������������5 Conventions ..............................................................................................................................................................6 Introduction Overview ...................................................................................................................................................................7 Package Contents .....................................................................................................................................................8 Features ....................................................................................................................................................................8 Planning the Installation ............................................................................................................................................9 Supported Operating System and Requirements ������������������������������������������������������������������������������������������������������9 Components ������������������������������������������������������������������������������������������������������������������������������������������������������������10 -
Exceptional Minds Studio Raises Autism Expectations to 128 Movies and Television Shows
Contact: Dee McVicker Grassroots Communications Gilbert, Arizona 480.545.7363 [email protected] Exceptional Minds Studio Raises Autism Expectations to 128 Movies and Television Shows The studio of working professionals on the spectrum started 2019 with 128 movies and television shows to its credit, including three of the five 2019 Oscar nominees in the visual effects category (Avengers: Infinity War, First Man, and Solo: A Star Wars Story) and two Best Picture nominees. Sherman Oaks, California – January 22, 2019 – The Exceptional Minds studio staffed by professionals on the autism spectrum started the new year with 44 television shows and 84 movie features to its credit, including three of the five 2019 Oscar nominated movies in the Visual Effects category and two in the Best Picture category announced today by the Academy of Motion Picture Arts and Sciences. A nonprofit with an innovative approach to gainful employment for people with autism, Exceptional Minds artists did visual effects for 2019 Academy Award nominees Avengers: Infinity War, Black Panther, First Man, Green Book and Solo: A Star Wars Story as well as for four 2019 Golden Globe nominees (Black Panther, Crazy Rich Asians, First Man and Green Book) and three of the five 2018 Oscar nominated movies in the Visual Effects category. “We get asked often how we can create job opportunities in the competitive entertainment industry for a population that has one of the lowest employment rates. There are many reasons—a great education program, for one—but I think the main reason is that we have raised our expectations. We challenge everyone who walks through these doors to reevaluate their expectations for people with autism, and you know what? They meet, if not exceed, our expectations every time,” said Dr. -
Microsoft Ends Game Streaming, Teams up with FB the Move to Shut- of People Who Play and Watch Microsoft Mixer Will Games Online
WEDNESDAY, JUNE 24, 2020 06 Microsoft ends game streaming, teams up with FB The move to shut- of people who play and watch Microsoft Mixer will games online. • ter Mixer would But the service, renamed be shuttered on July 22 Mixer in 2017, struggled to gain allow Microsoft to traction against Twitch, Goog- The gamers will be le-owned YouTube and Face- encouraged• to transition focus on its other book Gaming. to Facebook Gaming gaming efforts in- Spencer said the move to shut- ter Mixer would allow Microsoft cluding “the world- to focus on its other gaming ef- AFP | San Francisco forts including “the world-class class content content being made by our 15 icrosoft said Monday being made by Xbox Game Studios, the evo - it was throwing in the lution of Xbox Game Pass, the Mtowel on its livestream our 15 Xbox Game launch of Xbox Series X, and the gaming platform and teaming up global opportunity to play any- with Facebook to better compete Studios, the evolu- where with Project xCloud,” re- with rivals like Amazon-owned ferring to the cloud-based game Twitch. tion of Xbox Game service. Microsoft Mixer will be shut- Pass, the launch of “Bringing that vision to life, tered on July 22, the tech giant for as many people as possible, said in a statement. Picture courtesy of Ars Technica Xbox Series X, and will see us working with dif - “It became clear that the time ferent partners, platforms, and needed to grow our own lives- Mixer and help the community play or watch games every ing,” said by Phil Spencer, head the global oppor- communities for years to come,” treaming community to scale transition to a new platform,” month. -
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era.