Synchronizing 3D Data Between Software – Driving 3D Collaboration Forward Using Direct Links
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Autodesk® Game Development Solutions Create. Animate. Integrate
Autodesk® Game Development Solutions Create. Animate. Integrate. Image courtesy of Bungie Studios of courtesy Image Create, animate, and integrate more productively with cutting-edge interoperability, using Autodesk game development solutions. Autodesk provides the game development Combined with 3ds Max, Maya, Autodesk® …with the Best Tools …with the Highest Productivity community with production-proven tools that MotionBuilder®, and Mudbox software, you can Artists consistently push the boundaries of Artists can create and animate assets, then enable end-to-end top-quality asset creation. take advantage of Autodesk’s interoperability creativity with the help of Autodesk’s industry- integrate them with a game engine more With this suite of solutions, developers can create throughout your game development process. leading game development tools. Whether you efficiently than ever before. In fact, Autodesk’s whatever they imagine. Now your entire team can create, animate, and are developing for the latest generation pipelines, most recent releases can help you streamline your integrate its work as well as bridge asset creation Xbox 360®, PLAYSTATION®3, and Nintendo® Wii™ creative pipeline to save both time and money. Industry watchers estimate that 85 to 90 percent and runtime disciplines. Ultimately, your facility platforms, or legacy consoles, PC, Mac® computers, of all contemporary video games use Autodesk can realize a production environment that is more and mobile games pipelines, Autodesk tools enjoy …with Extensive Interoperability tools in development. The worldwide popularity creative and productive. wide acceptance and are an ideal choice. Our tools both empower and expedite the creative and extensive use of Autodesk® 3ds Max® and process. Autodesk 3ds Max, Maya, MotionBuilder, Autodesk® Maya® software make these products Create, Animate, and Integrate… and Mudbox software can be used in concert to industry standards. -
Autodesk Entertainment Creation Suite
Autodesk Entertainment Creation Suite Top Reasons to Buy and Upgrade Access the power of the industry’s top 3D modeling and animation technology in one unbeatable software suite. Autodesk® Entertainment Creation Suite Options: Autodesk® Maya® Autodesk® 3ds Max® Entertainment Creation Suite 2010 includes: Entertainment Creation Suite 2010 includes: • Autodesk® Maya® 2010 software • Autodesk® 3ds Max® 2010 • Autodesk® MotionBuilder® 2010 software • Autodesk® MotionBuilder® 2010 software • Autodesk® Mudbox™ 2010 software • Autodesk® Mudbox™ 2010 software Comprehensive Creative Toolsets The Autodesk Entertainment Creation Suite offers an expansive range of artist-driven tools designed to handle tough production challenges. With a choice of either Autodesk Maya 2010 software or Autodesk 3ds Max 2010 software, you have access to award-winning, 3D software for modeling, animation, rendering, and effects. The Suite also includes Autodesk Mudbox 2010 software, allowing you to quickly and intuitively sculpt highly detailed models; and Autodesk MotionBuilder 2010 software, to quickly and efficiently create, manipulate and process massive amounts of animation data. The complementary toolsets of the Suite help you to achieve higher quality results more efficiently and more cost-effectively. Real-Time Performance with MotionBuilder The addition of MotionBuilder to a Maya or 3ds Max pipeline helps increase production efficiency, and produce higher quality results when developing projects requiring high-volume character animation. With its real-time 3D engine and dedicated toolsets for character rigging, nonlinear animation editing, motion-capture data manipulation, and interactive dynamics, MotionBuilder is an ideal, complementary toolset to Maya or 3ds Max, forming a unified Image courtesy of Wang Xiaoyu. end-to-end animation solution. Digital Sculpting and Texture Painting with Mudbox Designed by professional artists in the film, games and design industries, Mudbox software gives 3D modelers and texture artists the freedom to create without worrying about technical details. -
Decide What Language Is Right for You || Autodesk Motionbuilder
Decide what language is right for you in Autodesk MotionBuilder Kristine Middlemiss, Developer Consultant Autodesk Developer Network Decide what language is right for you || Autodesk MotionBuilder Contents 1.0 Introduction to Autodesk MotionBuilder ................................................................................ 3 1.1 Why use Programming in Autodesk MotionBuilder ................................................................ 3 1.2 Python Introduction ................................................................................................................ 3 What is Python all about? ............................................................................................................ 3 Advantages .................................................................................................................................. 4 Disadvantages ............................................................................................................................. 4 1.3 What distinguishes Python from the OpenReality SDK?......................................................... 5 Advantages of OpenReality ......................................................................................................... 5 Advantages of Python ................................................................................................................. 5 1.4 How do they both fit in Autodesk MotionBuilder ................................................................... 6 2 | P a g e Decide what language is right for -
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. -
John Bachofer Graphic Designer
JOHN BACHOFER GRAPHIC DESIGNER Animation/Graphic Design/3D Modelling Marketing/Freelancer [email protected] | (760)-518-0145 http://johnkathrynjanewayba.wixsite.com/johnbachoferartist https://www.linkedin.com/in/johnny-bachofer-32888ab8/ Education Summary B.S. in Graphic Design with Meticulous and knowledgeable Graphic Design graduate known for skill in 3D modeling, rigging Emphasis on Animation and texturing. Deadline driven and results oriented artist who has exhibited exceptional talent in Grand Canyon University building highly detailed products yielding customer satisfaction. Graduated 2018 Key Skills include: graphic design, illustration, modeling/texturing, rigging and animation Software Work Experience Autodesk MAYA Source FilmMaker Real Art Daily Productions - Los Angeles, CA (Online) 11/2019 - Present Blender 3D Adobe Creative Lightwave 3D Suite: Character Animator DAZ Studio Photoshop • Mastered the use of Unreal Engine 4. Unreal Engine 4 Illustrator • Developed comprehensive 3D modelling and rigging skills. MakeHuman InDesign • Completed the company’s first animation of a quadruped character. Autodesk 3DS MAX After Effects • Met project milestones for writing, storyboard development and comencement of production. Unity Lightroom • Successful team member in a diverse and inclusive workplace. ZBrush Microsoft Office Sketchup Suite: Mogul Mommies Inc - New York, NY (Online) Feb 2017 - May 2018 AutoCAD Excel Game Development Artist Mixamo Fuse Word • Developed and released the “Toss That!” mobile app game. Poser Powerpoint -
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. -
Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet: -
FBX SDK Programmeres Guide 2011
FBX SDK FBX SDK Programmer’s Guide 2011 April 2010 Autodesk® FBX® 2011 SDK © 2010 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. The following are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, Algor, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backburner, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Fempro, Fire, Flame, Flint, FMDesktop, Freewheel, GDX Driver, Green Building Studio, Heads-up Design, Heidi, HumanIK, -
Survey of 3D Digital Heritage Repositories and Platforms
Virtual Archaeology Review, 11(23): 1-15, 2020 https://doi.org/10.4995/var.2020.13226 © UPV, SEAV, 2015 Received: March 4, 2020 Accepted: May 26, 2020 SURVEY OF 3D DIGITAL HERITAGE REPOSITORIES AND PLATFORMS ESTUDIO DE LOS REPOSITORIOS Y PLATAFORMAS DE PATRIMONIO DIGITAL EN 3D Erik Champion , Hafizur Rahaman * Faculty of Humanities, Curtin University, Bentley 6845, Australia. [email protected]; [email protected] Highlights: • A survey of relevant features from eight institutional and eleven commercial online 3D repositories in the scholarly field of 3D digital heritage. • Presents a critical review of their hosting services and 3D model viewer features. • Proposes six features to enhance services of 3D repositories to support the GLAM sector, heritage scholars and heritage communities. Abstract: Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector? This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. -
Open Animation Projects
OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12 -
Avatare in Katastrophensimulationen
Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems ISBN 978-3-86219-610-4 Siemon Andreas zur Darstellung von Beteiligten in Großschadenslagen Avatare in Katastrophensimulationen in Katastrophensimulationen Avatare Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems zur Darstellung von Beteiligten in Großschadenslagen kassel university press Die vorliegende Arbeit wurde vom Fachbereich Elektrotechnik / Informatik der Universität Kassel als Dissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften (Dr. rer. nat.) angenommen. Erster Gutachter: Prof. Dr.-Ing. D. Wloka Zweiter Gutachter: Prof. Dr. A. Zündorf Tag der mündlichen Prüfung 27. März 2013 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar Zugl.: Kassel, Univ., Diss. 2013 ISBN 978-3-86219-610-4 (print) ISBN 978-3-86219-611-1 (e-book) URN: http://nbn-resolving.de/urn:nbn:de:0002-36118 © 2013, kassel university press GmbH, Kassel www.uni-kassel.de/upress Druck und Verarbeitung: Print Management Logistics Solutions, Kassel Printed in Germany Danksagung Die vorliegende Dissertation entstand im Zeitraum von Oktober 2008 bis November 2012 am Fachgebiet Technische Informatik der Universit¨at Kassel. Sie w¨are nicht ohne die Unterstutzung,¨ den Rat und die Geduld zahlreicher Personen m¨oglich gewesen, bei denen ich mich im nachfolgenden herzlich bedanken m¨ochte. Mein besonderer Dank gilt meinem Betreuer, Herrn Prof. Dr.-Ing. Dieter Wloka, fur¨ die interessante Aufgabenstellung verbunden mit der M¨oglichkeit, die vorliegende Arbeit an seinem Fachgebiet anfertigen zu durfen.¨ Weiterhin bedanke ich mich fur¨ die ausgezeichnete Betreuung, die st¨andige Diskussionsbereitschaft sowie die wertvollen Anregungen und Hinweise. -
Powering a New Era of Collaboration and Simulation in Media And
Image Courtesy of ILM SOLUTION SHOWCASE NVIDIA Omniverse™ is a groundbreaking POWERING A NEW ERA OF virtual platform built for collaboration and real-time photorealistic simulation. COLLABORATION AND SIMULATION Studios can now maximize productivity, IN MEDIA AND ENTERTAINMENT enhance communication, and boost creativity while collaborating on the same 3D scenes from anywhere. NVIDIA continues to advance state-of-the-art graphics hardware, and Omniverse showcases what is possible with real-time ray tracing. The potential to improve the creative process through all stages of VFX Built For and animation pipelines will be transformative. > Concept Artists — Francois Chardavoine, VP of Technology, Lucasfilm & Industrial Light & Magic > Modelers > Animators > Texture Artists Challenges in the Media and Entertainment Industry > Lighting or Look Development Artists The Film, Television, and Broadcast industries are undergoing rapid change as new production pipelines are emerging to address the growing demand for high-quality > VFX Artists content in a globally distributed workforce. Additionally, new streaming services are > Motion Designers creating the need for constant releases and refreshes to satisfy a growing subscriber base. > Rendering Specialists NVIDIA Omniverse gives creative teams the ability to create, iterate, and collaborate on Platform Features assets using a variety of creative applications to deliver real-time results. Artists can focus on maximum iterations with no opportunity cost or the need to wait for long render > Compatible with top industry design times to achieve high-quality results. and visualization software > Scalable, works on all NVIDIA RTX™ M&E Use Cases for Omniverse solutions, from the laptop to the data center > Initial Concept Design - Artists can quickly develop and refine conceptual ideas to bring the Director’s vision to life.