Avatare in Katastrophensimulationen
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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. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
Texture Mapping with Mudbox and 3Ds Max
Texture Mapping with Mudbox and 3ds Max by Joshua Holland Graphic Communication Department College of Liberal Arts California Polytechnic State University 2011 ABSTRACT Texture Mapping with Mudbox and 3ds Max Joshua Holland Graphic Communication Department, December 2011 Advisor: Kevin Cooper The purpose of this study was to determine the intuitiveness of texture mapping and compressibility of files generated using Autodesk 3ds Max 2012 versus Autodesk Mudbox 2012. This will be used by anyone starting to learn how to texture map and who is comparing programs that have the capability to do so. This will save users time in researching which program is better suited for their needs. This study investigated how Autodesk 3ds Max 2012 and Autodesk Mudbox 2012 compared in mapping textures to 3D models. A basic computer skills assessment test and an intuitive test was administered to twelve participants. They were ranked based on their computer skills assessment scores, texture map completion time with 3ds Max, and texture map completion time with Mudbox. Exported files sizes for 3D models using 3ds Max and Mudbox were also compared to determine which was smaller. Participants were not included in the file size portion of the study. Results from twelve participants in the intuitive test showed that Mudbox proved to be more intuitive for first time users attempting to apply a texture to a 3D object. However, 3ds Max offers more control and precision in performing these tasks at the cost of a large learning curve and a less of a fluid interface. The compressiblity test showed that 3ds Max produced a smaller file size. -
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. -
Surrealist Aesthetics
SURREALIST AESTHETICS Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution Peggy Li Auckland University of Technology Master of Design 2020 A thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Design, Digital Design P a g e | 1 Abstract “Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution”, is a practice-based research project focusing on the production of a poetic short film that incorporates surrealist aesthetics with motion capture and digital simulation effects. The project explores surrealist aesthetics using visual effects combined with motion capture techniques to portray the creator’s personal experiences of air pollution within a poetic short film form. This research explicitly portrays this narrative through the filter of the filmmaker’s personal experience, deploying an autoethnographic methodological approach in the process of its creation. The primary thematic contexts situated within this research are surrealist aesthetics, personal experiences and air pollution. The approach adopted for this research was inspired by the author’s personal experiences of feeling trapped in an air-polluted environment, and converting these unpleasant memories using a range of materials, memories, imagination, and the subconscious mind to portray the negative effects of air pollution. The overall aim of this process was to express my experiences poetically using a surrealist aesthetic, applied through -
Autodesk Whitepaper
Autodesk® MotionBuilder® 2012 Frequently Asked Questions Autodesk® MotionBuilder® 2012 software is a leading real-time animation software: an ideal tool for high-volume game animation pipelines, director-driven virtual cinematography and real time character simulations. Contents 1. General Product Information ....................................................................................... 3 1.1 Who uses MotionBuilder? ................................................................................... 3 1.2 What are the key strengths of MotionBuilder? .................................................... 3 1.3 What are the key new features in MotionBuilder 2012? ..................................... 3 1.4 When will MotionBuilder 2012 be available? ...................................................... 4 1.5 Will there be a trial version of MotionBuilder 2012 available? ............................ 4 2. Technology ................................................................................................................... 5 2.1 What operating systems will MotionBuilder 2012 support? ................................ 5 3. Installation, Configuration, and Licensing ................................................................. 5 3.1 Will MotionBuilder 2012 be available with hardware dongle support? ................ 5 3.2 How does Online License Transfer work? .......................................................... 5 4. Compatibility and Interoperability ............................................................................. -
Software Options a CTE Space Needs to Prepare Students for an Uncertain Future with Jobs That Have Not Even Been Conceived of Yet
Career and Technical Education: Software Options A CTE space needs to prepare students for an uncertain future with jobs that have not even been conceived of yet. A diverse array of powerful software options is crucial to developing the 21st century skills that can be applied to a variety of career possibilities. 2D Design 3D Design Overview: This category includes image creation Overview: Most professional or “prosumer” grade and editing apps that work with both vector and 3D software packages contain integrated modules bitmap artwork, as well as software for page layout for modeling, texture mapping and animation design and more. In some cases, applications in this at a minimum. They may also include additional category have limited 3D animation and modeling functionality in areas such as particle systems, capabilities as well. rendering engines, fabric, environments and much more. There are many third-party providers such as Paid Red Giant and Video Copilot supplying these add- • Adobe Illustrator CC (vector-based) ons with costs and compatibility that can vary greatly. • Adobe Photoshop CC (pixel-based bitmap) Animation • Adobe InDesign CC (page layout) Paid • Affinity Designer • Autodesk Maya • Corel Paintshop Pro • Autodesk 3D Studio Max • Sketch (vector-based alternative to Illustrator) • Maxon Cinema 4D (standalone or bundled with Adobe After Effects CC) • QuarkXpress (page layout) • Autodesk MotionBuilder • Clip Studio Paint (pixel and vector) Free Free • Blender • GIMP • Clara.io • Pixlr • Houdini (Apprentice version free with limitations) • Sumo Paint (free or $/month) • Daz 3D Studio • Inkscape (vector) • BoxSVG (vector) – 1 – Copyright © 2019 Clarity Innovations, Inc., All Rights Reserved. *Other names and brands may be claimed as the property of others. -
Building and Using a Character in 3D Space Shasta Bailey
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2014 Building and Using a Character in 3D Space Shasta Bailey Follow this and additional works at: https://dc.etsu.edu/honors Part of the Game Design Commons, Interdisciplinary Arts and Media Commons, and the Other Arts and Humanities Commons Recommended Citation Bailey, Shasta, "Building and Using a Character in 3D Space" (2014). Undergraduate Honors Theses. Paper 214. https://dc.etsu.edu/ honors/214 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Contents Introduction: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 3 The Project Outline: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 4 The Design: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 4 3D Modeling: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 7 UV Mapping: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 11 Texturing: ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ -
Álvaro Carreras Romero
Contactar 620291340 (Mobile) Álvaro Carreras Romero [email protected] Senior Environment Artist en Vertical Robot Comunidad Valenciana / Comunitat Valenciana www.linkedin.com/in/ %C3%A1lvaro-carreras- romero-00131a39 (LinkedIn) Extracto www.artstation.com/ac_art (Personal) Hi, I'm Álvaro from Barcelona - Spain. I dedicated my last 7 years ac_art.artstation.com/ (Personal) on working for some studios in the videogames industry mainly as ac_art.artstation.com/ (Company) Environment Artist. Aptitudes principales TITLES: Maya 3D Studio Max - Skara: The Blade Remains (as Environment Artist) Photoshop - Hitman 2 (as Environment Artist) - Call Of Duty: Black Ops 4 (as Props Artist) Languages - Call Of Duty: Modern Warfare (as Props Artist) Italiano (Elementary) - LAST YEAR: Afterdark (as Material Artist) Inglés (Full Professional) - Unity | Snaps Art HD | European Market (as Material Artist) Catalán (Native or Bilingual) - Call Of Duty: Black Ops Cold War (as Props Artist) - Unannounced AAA (as Environment Artist) Publications - Unannounced AAA VR title (as Material Artist) Environment Production For Hitman 2 - Unannounced AAA VR title (as Senior Environment Artist) The Creation of Realistic Materials SOFTWARE EXPERIENCE Game Engines: − Unreal Engine 4 − Glacier Engine 2 (IO Interactive's in-house engine used for Hitman 2) − Unity 3D Workflow Tools: − Blender − Autodesk Softimage − Autodesk 3DS Max − Autodesk Maya − Autodesk Mudbox − Pixologic Zbrush Page 1 of 4 − Substance Painter − Substance Designer − Adobe Photoshop − Headus UV Layout − Substance B2M − Marvelous Designer − xNormal − Marmoset Toolbag − Keyshot − World Machine − Meshlab Post-Pro/Audio Editing: − Adobe After Effects − Sony Vegas − Audacity − Cubase − Reaper Revision Control System: - Perforce - Alienbrain - Tortoise SVN Task management tools: - Trello - Jira Experiencia Vertical Robot Senior Environment Artist enero de 2020 - Present (11 meses) Working as owner of locations for an unannounced AAA VR title. -
Additive Manufacturing Resource Sheet
November 2020, v.2 School of Engineering, Deakin University Resource Sheet 3D printing particles for calibration of DEM simulations 3D Powders Group Professor Karen Hapgood (Group leader), Professor David Morton, Dr Jun Zhang, Dr Negin Amini (Co-author), Dr Rechana Remadevi, Mr Shishir Shekhar, Mr Danni Suhaidi, Mr Josh Tuohey (Co-author). *Please kindly cite this document if used for research publications* Overview This overview provides the steps to creating particles suitable for calibration of DEM simulations using 3D printing technology. Conceptualisation of a digital source into a physical particle with tuneable properties is explained. According to the International Organisation for Standardisation and American Society for Testing and Materials International standard (ISO/ASTM 52900:2015) there are seven (7) main categories of 3D printing processes (Standard 2012). The general process for all categories are alike, printing in a layer-by-layer fashion. The specific method in which this is achieved varies for each category, whether that be by extrusion, lamination, jetting, photo-curing, or fusion of the materials (Wohlers, Campbell et al. 2018). A summary of the process descriptions are summarised in Table 1. Table 1. 3D printing process categories as outlined by the ISO/ASTM 52900:2015 standard (International 2015) 3D Printing category Process Description 1 Binder jetting The process where a liquid bonding agent is strategically deposited onto a powder bed to join the powder materials 2 Directed energy deposition The process where