Halim NEGADI CG Supervisor | Creature & Lighting TD Male, 04-Feb-1972 [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

Halim NEGADI CG Supervisor | Creature & Lighting TD Male, 04-Feb-1972 Hnegadi@Gmail.Com Halim NEGADI CG Supervisor | Creature & Lighting TD Male, 04-Feb-1972 [email protected] Professional Experience December 2017|August 2019 The Future Group Oslo Interactive Mixed Reality Head of Creatures & Performance Technology | Pipeline Architect & Engineer Responsible for Design, Implementation & Deployment of a Production Pipeline using Unreal Engine 4™ as final interactive output. Responsible for Design, Implementation & Deployment of the Creatures & Performance Pipeline. Responsible for delivery of final Unreal animated characters assets for the KDA Popstars Show. Unreal Engine 4™, Autodesk Maya™, SideFX Houdini™, Blender™, Substance™ Painter & Designer, Python, PyQt September 2015|March 2017 Isotropix Paris / Montpellier Software Development Lighting TD | Product Engineer Core, end user specification & beta testing of Istropix Clarisse™ in tight collaboration with R&D engineers. Rising & tracking of feature requests/bugs/regressions Development of production tools using Clarrisse.™ API. Integration in client's production environments, staff Training, Content & Training material creation, online training & support. Isotropix Clarisse™, Autodesk Maya™, SideFX Houdini™, Python, PyQt January|August 2015 Animal Logic Sydney Lego CG Features Pipeline TD, Assets The LEGO® Batman Movie The LEGO® Ninjago Movie Handling of the unique challenges which arise in a Pipeline consisting of Assets made from a library of Lego Bricks ( Schematic/Procedural Assets ). Augmentation and prototyping of the asset pipeline. Ensuring stability in asset builds. Gatekeeper of the production tool environments. Liaising with R&D in finding solutions to technical issues and providing support for 50+ artists. Liasing with downstream departments to resolve version conflicts and asset related rendering issues. Python (standalone, Animal Logic™ framework/database API), Autodesk Maya™ & SideFX Houdini™ APIs Glimpse™ (in-house Animal Logic™ renderer), RV plugins October 2012|September 2014 Forge Animation Paris / Aix En Provence Transmedia Project Windwalkers CG Feature & RPG Game Based on Alain Damasio's best selling classic: "La Horde du Contrevent" Head of Production Technology Responsible for a 40+ people pre-production team including Art / CG / RnD & IT. Focused on assets interoperability, scene assembly with large amounts of data, lazy loading, dependencies & overrides handling within a non destructive collaborative workflow, the pipeline we designed had to remain as software agnostic and as seamless as possible. Bridges using metadata alongside with standard interchange formats helped us to mix several third party software packages within a unified production environment. Specification of the data and production tracking services. Supervision of the IT infrastructure, deployment of virtualized self-hosted secured services with a single ldap sign on such as: gitlab, wiki, mail, chat, calendar, self hosted file exchange service. Master/Slave remote and local ldap authentication. On and off site storage synchronization and backup. Autodesk|Maya/MotionBuilder/MudBox™, Pixologic|ZBrush™ FabricEngine|CreationPlatform™ CryEngine™, SideFX|Houdini™, The Bakery|Relight™, Isotropix|Clarisse™ Alembic, openVDB, fbx™, xml, json Python, JavaScript™, Mel™, KL™, ProxMox™, Git™, Gitlab™, Atlassian|Jira/Confluence™ May|June 2012 La Station Animation Paris Commercial Rigging Supervisor Responsible for setting up rebuildable Rigs for all the characters. Softimage|ICE™ Feathers System implementation using Studio Nest Melena. Autodesk|Softimage™, The Foundry|Nuke™ March|April 2012 Not To Scale London Events Campain CG Supervisor Responsible of setting up a quick pipeline before hiring a team of 12 CG artists to acheive a 1"30 full CG 12k sequence meant to be projected in a Burberry event. Autodesk|Softimage/MentalRay™, Adobe|After Effects™ January 2011|February 2012 The Bakery Paris / Gémenos Software Development Lighting TD | Product Engineer GUI/end-user specification & beta testing of Relight™ Specification & beta testing of Alembic support. Online support & training, content & training material creation. Integration in clients production environments & staff training, integration with renderfarm managers ( DrQueue™, Muster™, Deadline™ ). Cybergroup Studios (Paris), GDC ( Shenzhen, China ) The Bakery|Relight™, Autodesk|Maya/Softimage™ Qslang ( extended JScript ), Python April|December 2010 Walking The Dog Brussels Animated Feature A Monster In Paris ( EuropaCorp | France 3 Cinéma | Walking The Dog ) Ligthing TD xml based library implemetation for dumping / retrieving Autodesk|Softimage™ data. xml based batch rebuild of final layout scenes, queue manager for all batch rebuilders. Automated Pass Creation / Partition Feed in Autodesk|Softimage™ Automated The Foundry|Nuke™ Precomp trees with each asset in its own backdrop. Autodesk|Softimage™, The Foundry|Nuke™, JScript, Python November 2009|March 2010 Industrial Light + Magic San Francisco Feature Film Iron Man II ( Paramount Pictures ) Creature Technical Director Character Rigging ( Creatures & Digital Doubles ), Motion Capture Retargetting, Soft and Rigid Dynamics Simulations, Final Layout Shots Rebuilding. Autodesk|Maya™, Zeno™, Python December 2006|October 2009 The Pumpkin Factory | EuropaCorp Paris Animated Feature A Monster In Paris ( EuropaCorp | France 3 Cinéma | Walking The Dog ) Animated Short French Roast ( The Pumpkin Factory ) February 2008|October 2009 Rigging Supervisor Responsible for delivery of 120+ fully rebuild-able Character Assets, 16+ Vehicles & 300+ Props. December 2006|January 2008 Head of Performance Technology Responsible for Design, Implementation and Deployment of the Rigging Framework & Animation Pipeline. Softimage|XSI™, JScript, Python, Cpp August|November 2006 uvph New York TV Broadcast/Commercials CG Supervisor Softimage|XSI™, JScript, Python, php October 2005|July 2006 Omation Studios San Clemente Animated Feature Barnyard ( Paramount Pictures ) May 2006|July 2006 Lighting / Compositing TD Tools development for the Lighting / Compositing dept. Shots Lighting & Compositing. January|April 2006 Animation / FX TD Delivery of Character Assets, Crowd shots setup. Tools development for the Animation dept. October|December 2005 Character Finaling TD Shots finaling, tools development for the Final Layout dept. Softimage|XSI™, EyeOn Fusion™, JScript, php, FusionScript June|September 2005 Neomis|Animation Paris Game Kinematic Prince Of Persia 3 ( One sequence outsourced by UbiSoft Montreal ) Character Rigger / Animation TD / Implementation of an XSI|3dsMax hybrid pipeline. Softimage|XSI™, 3dsMax™, NextLimit RealFlow™, Python, JScript, VBScript December 2004|April 2005 CUBE Paris CG Stereoscopic Movie Monsters Of The Abyss Special Effetcs Award at the 2005 World Festival of Underwater Pictures Generalist TD Hybrid Maya|XSI pipeline implementation. Flocking simulation, Character Rigging. Softimage|XSI™, Softimage|Behaviour™, Maya™, Piccolo™, Python, perl™, mel™ August|November 2004 Autrechose Paris Feature Film Narco Directed by Tristan Aurouet and Gilles Lellouche Director & CG Supervisor of a 2'30" full CG sequence Softimage|XSI™, Python May 2003|August 2004 Action Synthèse Marseille Animated Feature Doogal ( Pathe Distribution ) February|October 2004 Animation TD Character Setup, sets rigging, responsible for all character/environment interactions. August 2003|January 2004 Lighting/Compositing Artist: Responsible for delivery of 95+ final shots. May July 2003 Lighting TD: Lighting/Compositing pipeline implementation Softimage|XSI™, JSscript, VBScript, FusionScript November 2002|April 2003 API Productions Paris Tv Documentary Mocap / Character TD Modeling and rigging of a virtual "Hector Berlioz" directing a live Symphonic Orchestra. Mocap calibration & retargetting ( Animation recorded with a wired MotionStar system ). Softimage|XSI™, Kaydara Filmbox™, JSscript, VBScript August 2000|September 2002 BUF Compagnie Paris Lead Artist as of March 2002 Feature Films Le Raid directed by Djamel Bensallah The Lady and the Duke directed by Eric Rohmer Commercials EDF Electronic Theatre Computer Animation Award at Siggraph 2002 Lipton, Gdf, Air France, Airbus, Caisse d'Epargne, Brahma, Orange, Tia Lusso, Raffeissen, Deischmann, Caldo Caldo Broadcast NASCAR On Fox (FoxTV) 2003 Promax Platinum and Gold Awards, 2003 BDA Gold Award ABsat AB3/AB1 DBS™, BStudio™, BColor™, BEdit™, BProc™ (in-house BUF Software) DB2™ (in-house BUF Scripting API), Softimage|3D™, Alias/Wavefront|Maya™ October 1997|August 2000 Digital Group Boulogne Billancourt Movies Harrison's Flowers Feature Film, directed by Elie Chouraqui De La Confiture Aux Cochons Short Movie, directed by Frédéric Jolfre, Jury's Special Award Roanne's Festival 1999 Who Ate The Last Dodo? Documentary, directed by Dominique Lecuivre for the French Natural History Museum Commercials FNAIM, St Valentin ( French National Lottery ), Volkswagen, Chanel No5 Broadcast Tacotac TV, Bingo, Loto ( French National Lottery ) Virtual Sets Sagas (TF1), MisterBiz (M6), Disney Parade (TF1), Le Journal Du Temps (France 5) Retro Sport 1997 (France2) Softimage|3D™, Softimage|LiveOGL™, Softimage|Sumatra/XSI™ Alias/Wavefront|Maya™ Discreet Vapour/Frost™ 1995|1997 Studio de la Comète Paris IT Manager First all-round CG Short movie (Olympoules) 5 weeks training period in 3D animation on the Insektors Animated TvSeries at Fantome Animation Education/Skills Education 1992 - 1995 Télécom Sud Paris Evry French "Grande Ecole", training engineers in Telecommunications: IT, networks, Computer
Recommended publications
  • Linuxvilag-07.Pdf 16290KB 110 2012-05-28 10:11:00
    Töprengõ A szerelemnek múlnia kell… artva inden terméknek megvan a sõt, két levelezõrendszerrel, a PostFixszel, Talán csak a beágyazott rendszerek szorul- M maga életciklusa. Elõbb-utóbb és a SuSE EMail Server II-vel. A rendszer- tak egy kicsit háttérbe. Sokan írták, hogy minden felett eljár az idõ. Még gazdák nagy hasznát vehetik a Nessusnak, nem tudják, mi az a beágyazott Linux. Nos, a szerelemnek is múlnia kell, ahogy Zorán mindenképpen ajánlom nekik is az 52. olda- egy lelkes fiatal készített egy háziasszonyok mondta. Hogy mi köze van a szerelemnek t. Minden jog fennt a számítástechnikához? Nagyon is sok! Mi alapján döntünk, amikor két számunkra Bemegy az ürge egy irodába, hát látja, hogy egy nagy ismeretlen termék között kell választanunk? szõke lobonc lóg csak ki a számítógépbõl. Egyéni érzéseink döntik el a kérdést. És – Elnézést, asszonyom, tudna segíteni? amikor az operációs rendszerek között kell – Egy pillanat, csak átültetem a rendszermagot… választanunk? © Kiskapu Kf Itt már összetettebb a helyzet, hiszen fontos, hogy használni tudjuk, ehhez pedig két 1. számára is érthetõ linuxos eszközt (lásd az fontos feltételnek kell teljesülnie: egyrészt 1. és 2. képet)! A pontos leírás megtalálható meg kell ismernünk, másrészt képesnek kell a http://www.riverdale.k12.or.us/linux/ lennie azon feladatok ellátására, amelyekre toaster/ címen. szánjuk. Természetesen ha már ismerjük, De a lap életében más változások is történ- akkor sokkal valószínûbb, hogy választá- nek. Például megváltozott az újság papírja. sunk rá esik. Ezért is fontos, hogy odafi- Elõször nagyon féltem, hogy milyen vissz- gyeljünk az oktatásra. Minél több rendszert, hangot kelt majd olvasóinkban, amiért nem irányt mutatunk meg a tanulóknak, annál „csillogunk” annyira, de szinte csak elége- könnyebben találnak a céljainak megfelelõ dett véleményeket kaptunk.
    [Show full text]
  • Procedural Content Generation for Games
    Procedural Content Generation for Games Inauguraldissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften der Universit¨atMannheim vorgelegt von M.Sc. Jonas Freiknecht aus Hannover Mannheim, 2020 Dekan: Dr. Bernd L¨ubcke, Universit¨atMannheim Referent: Prof. Dr. Wolfgang Effelsberg, Universit¨atMannheim Korreferent: Prof. Dr. Colin Atkinson, Universit¨atMannheim Tag der m¨undlichen Pr¨ufung: 12. Februar 2021 Danksagungen Nach einer solchen Arbeit ist es nicht leicht, alle Menschen aufzuz¨ahlen,die mich direkt oder indirekt unterst¨utzthaben. Ich versuche es dennoch. Allen voran m¨ochte ich meinem Doktorvater Prof. Wolfgang Effelsberg danken, der mir - ohne mich vorher als Master-Studenten gekannt zu haben - die Promotion an seinem Lehrstuhl erm¨oglichte und mit Geduld, Empathie und nicht zuletzt einem mir unbegreiflichen Verst¨andnisf¨ur meine verschiedenen Ausfl¨ugein die Weiten der Informatik unterst¨utzthat. Sie werden mir nicht glauben, wie dankbar ich Ihnen bin. Weiterhin m¨ochte ich meinem damaligen Studiengangsleiter Herrn Prof. Heinz J¨urgen M¨ullerdanken, der vor acht Jahren den Kontakt zur Universit¨atMannheim herstellte und mich ¨uberhaupt erst in die richtige Richtung wies, um mein Promotionsvorhaben anzugehen. Auch Herr Prof. Peter Henning soll nicht ungenannt bleiben, der mich - auch wenn es ihm vielleicht gar nicht bewusst ist - davon ¨uberzeugt hat, dass die Erzeugung virtueller Welten ein lohnenswertes Promotionsthema ist. Ganz besonderer Dank gilt meiner Frau Sarah und meinen beiden Kindern Justus und Elisa, die viele Abende und Wochenenden zugunsten dieser Arbeit auf meine Gesellschaft verzichten mussten. Jetzt ist es geschafft, das n¨achste Projekt ist dann wohl der Garten! Ebenfalls geb¨uhrt meinen Eltern und meinen Geschwistern Dank.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 3D Distributed Rendering and Optimization Using Free Software
    Free Software: Research and Development 3D Distributed Rendering and Optimization using Free Software Carlos González-Morcillo, Gerhard Weiss, David Vallejo-Fernández, and Luis Jiménez-Linares, and Javier Albusac-Jiménez The media industry is demanding high fidelity images for 3D synthesis projects. One of the main phases is Rendering, the process in which a 2D image can be obtained from the abstract definition of a 3D scene. Despite developing new techniques and algorithms, this process is computationally intensive and requires a lot of time to be done, especially when the source scene is complex or when photo-realistic images are required. This paper describes Yafrid (standing for Yeah! A Free Render grID) and MAgArRO (Multi Agent AppRoach to Rendering Optimization) architectures, which have been developed at the University of Castilla-La Mancha for distributed rendering optimization. González, Weiss, Vallejo, Jiménez and Albusac, 2007. This article is distributed under the “Attribution- Share Alike 2.5 Generic” Creative Commons license, available at <http://creativecommons.org/licenses/ by-sa/2.5/ >. It was awarded as the best article of the 1st. FLOSS International Conference (FLOSSIC 2007). Keywords: Artificial Intelligence, Intelligent Agents, Authors Optimization, Rendering. Carlos Gonzalez-Morcillo is an assistant professor and 1 Introduction a Ph.D. student in the ORETO research group at the Uni- versity of Castilla-La Mancha. His recent research topics Physically based Rendering is the process of generating are multi-agent systems, distributed rendering, and fuzzy a 2D image from the abstract description of a 3D scene. The logic. He received both B.Sc. and M.Sc. degrees in Com- process of constructing a 2D image requires several phases puter Science from the University of Castilla-La Mancha in including modelling, setting materials and textures, plac- 2002 and 2004 respectively.
    [Show full text]
  • Lighting and Rendering in Maya
    LIGHTING AND RENDERING IN MAYA Unit–I : Lights in Maya Introduction –Default light setups – Light working methods-Lightning Concepts - Lighting types - Light Linking - Advanced Lighting Techniques - Lighting Flat Objects - Lighting in Layers - Lighting -Semi-Outdoor Lighting -Three-Point Lighting Unit–II : Texture in Maya Observing Light and texture – Observing Lights and materials-Texturing for Dummies - Texturing - Realistic Skin - Texture Map Nurbs Dragon - Texture Mapping - Surface Parameterization - Texture Resolution - Sky Maps -Transparency Shadows. Unit–III : Rendering in Maya Introduction to Rendering – Render setup – Render types – H/W and S/W Render Settings – Render layers – Render concepts – Render outputs-Rendering in Passes - RenderMan - MAYA to RenderMan - Rigging - Creating Character Sets After Setting Animation Curves - Rigging - Inverse Foot Setup - Rigging a Vehicle. Unit–IV : Modeling in Maya Modeling a Car - Modeling - Female Character using Comic - Modeling a Giraffe - Modeling preacher - Modeling - Male Character - Modeling – Continuity. Unit–V : Advanced Modeling in Maya Modeling a Cartoon Dog - Modeling a Dragon using Nurbs - Modeling an Ear - Modeling a Foot - Modeling a Head using Polygon - Modeling a Head using Subdivision - Modeling an Island - Molecular Data in Maya. Paint Effects – Hair- Hair Dynamics, Particle Emission -Objects Collide, Particle Shading Script - Particle Speed. 1 | P a g e UNIT I Lights in Maya List of Default lights in Maya 1) Ambient Light 2) Directional Light 3) Point Light 4) Spot Light 5) Area Light 6) Volume light Where will you get these lights? In Menu bar, go to create option and select Lights and click on a light you need in the scene. Rendering Shelf in Maya Purpose of each light in Maya 1) Ambient Light Ambient light shine in two ways :- a) It shines evenly in all direction from the location of light.
    [Show full text]
  • Blender 3D: Noob to Pro/Printable Version
    Blender 3D : Noob to Pro. For latest version visit http://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro Blender 3D: Noob to Pro/Printable Version From Wikibooks, the open-content textbooks collection < Blender 3D: Noob to Pro Contents 1 Beginner Tutorials 2 Note on Editing 3 Quick Installation Guide 4 Weblinks 5 Tutorial Syntax 6 Keyboard 7 3-button Mouse 8 Apple 1-button Mouse substitutions 9 Path menu 10 Become Familiar with the Blender Interface 11 Learn the Blender Windowing System 12 The 3D Viewport 13 Resizing the Windows 14 User Preferences 15 Joining and Splitting Windows 16 Window Headers 17 Changing/Selecting Window Types 18 The Buttons Window 19 The 3D Viewport Window 20 Rotating the view 20.1 For laptop users: the num lock 21 Panning the View 22 Zooming the View 23 Pro Tip 24 Placing the 3D cursor 25 Adding and Deleting Objects 26 Other Windows 27 Learn to Model 28 Beginners Tips 29 Starting with a box 30 Subdivision Surfaces 30.1 But I want a box! 31 Quickie Model 32 Quickie Render 33 Mesh Modeling 34 Modeling a Simple Person 35 Creating a New Project 36 Learning about Selection 36.1 1. Box Selecting 36.2 2. Circle Selecting 36.3 3. Lasso Selecting 36.4 4. One By One Selecting 36.5 5. Face Selecting 37 Learning Extrusion 38 Placing Geometry 39 Summary: Keys & Commands 39.1 Detailing Your Simple Person I 39.2 Subsurfaces 39.3 Smooth Surfaces 39.4 Detailing Your Simple Person II 39.5 Selection modes 39.6 Scaling with axis constraint 39.7 Modeling the arms 39.8 Modeling the legs 39.9 Modeling the head 39.10 Creating a Simple Hat 1 Blender 3D : Noob to Pro.
    [Show full text]
  • 3D Data Visualization in Astrophysics Dr
    3D Data Visualization in Astrophysics Dr. Brian R. Kent National Radio Astronomy Observatory http://www.cv.nrao.edu/~bkent/blender http://iopscience.iop.org/journal/1538-3873/page/Techniques-and-Methods-for-Astrophysical-Data-Visualization Overview ● What we want to get out of 3D data visualization ● Types of visualizations when rendering 3D graphics ● How we can leverage Blender for 3D viz ● Examples Dr. Brian R. Kent (NRAO) ADASS 2018 Astrophysical Phenomena What do we want when visualizing our data in 3D? ● Effectively display a discovery, principle, data characteristics, or parameter space ● Show a data perspective not otherwise seen ● Collapse a high N phase space into a 3D animation ● Visuals for EPO Dr. Brian R. Kent (NRAO) ADASS 2018 Types of Data in Astronomy Dr. Brian R. Kent (NRAO) ADASS 2018 Data Volumes in Astronomy Dr. Brian R. Kent (NRAO) ADASS 2018 3D Graphics Software HOUDINI 3D Graphics, Python, and Astronomy I use a non-traditional package called Blender to render different forms of astronomical data - catalogs, data cubes, simulations, etc. Dr. Brian R. Kent (NRAO) ADASS 2018 What is Blender? Blender is: ● 3D graphics software for modeling, animation, and visualization ● Open-source ● a real-time 3D viewer and GUI ● A Python scriptable interface for loading and manipulating data http://www.blender.org Dr. Brian R. Kent (NRAO) ADASS 2018 Publications ● Kent 2013 ● http://adsabs.harvard.edu/abs/2013PASP..125..731K ● Kent 2015 ● http://iopscience.iop.org/book/978-1-6270-5612-0 ● Kent 2017 ● http://adsabs.harvard.edu/abs/2017PASP..129e8004K Elements of 3D Graphics We need to consider: ● Models - physical or data containers? ● Textures - 2D, 3D, and projections? ● Lighting - illumination of data - physical or artistic ● Animation - How will the model move and change? ● Camera control - lens selection, angle, image size, and movement and tracking ● Rendering - backend engine choice ● Compositing - layering final output Dr.
    [Show full text]
  • 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.
    [Show full text]
  • Integrating Open Source Distributed Rendering Solutions in Public and Closed Networking Envi- Ronments
    Integrating open source distributed rendering solutions in public and closed networking envi- ronments Seppälä, Heikki & Suomalainen, Niko 2010 Leppävaara Laurea University of Applied Sciences Laurea Leppävaara Integrating open source distributed rendering solutions in public and closed networking environments Heikki Seppälä Niko Suomalainen Information Technology Programme Thesis 02/2010 Laurea-ammattikorkeakoulu Tiivistelmä Laurea Leppävaara Tietojenkäsittelyn koulutusohjelma Yritysten tietoverkot Heikki Seppälä & Niko Suomalainen Avoimen lähdekoodin jaetun renderöinnin ratkaisut julkisiin ja suljettuihin ympäristöihin Vuosi 2010 Sivumäärä 64 Moderni tutkimustiede on yhä enemmän riippuvainen tietokoneista ja niiden tuottamasta laskentatehosta. Tutkimusprojektit kasvavat jatkuvasti, mikä aiheuttaa tarpeen suuremmalle tietokoneteholle ja lisää kustannuksia. Ratkaisuksi tähän ongelmaan tiedemiehet ovat kehittäneet hajautetun laskennan järjestelmiä, joiden tarkoituksena on tarjota vaihtoehto kalliille supertietokoneille. Näiden järjestelmien toiminta perustuu yhteisön lahjoittamaan tietokonetehoon. Open Rendering Environment on Laurea-ammattikorkeakoulun aloittama projekti, jonka tärkein tuotos on yhteisöllinen renderöintipalvelu Renderfarm.fi. Palvelu hyödyntää hajautettua laskentaa nopeuttamaan 3D-animaatioiden renderöintiä. Tämä tarjoaa uusia mahdollisuuksia mallintajille ja animaatioelokuvien tekijöille joilta tavallisesti kuluu paljon aikaa ja tietokoneresursseja töidensä valmiiksi saattamiseksi. Renderfarm.fi-palvelu perustuu BOINC-pohjaiseen
    [Show full text]
  • Open Source Film a Model for Our Future?
    Medientechnik First Bachelor Thesis Open Source Film A model for our future? Completed with the aim of graduating with a Bachelor of Science in Engineering From the St. Pölten University of Applied Sciences Media Technology degree course Under the supervision of FH-Prof. Mag. Markus Wintersberger Completed by Dora Takacs mt081098 St. Pölten, on June 30, 2010 Medientechnik Declaration • the attached research paper is my own, original work undertaken in partial fulfillment of my degree. • I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another person’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. • Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. • I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. • I understand also that too great a reliance on the work of others may lead to a low mark. Day Undersign Takacs, Dora, mt081098 2 Medientechnik Abstract Open source films, which are movies produced and published using open source methods, became increasingly widespread over the past few years. The purpose of my bachelor thesis is to explore the young history of open source filmmaking, its functionality and the simple distribution of such movies.
    [Show full text]