Throughout the Year, the International Resources Program Facilitates Worldwide Collaboration in the ACM SIGGRAPH Community
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GLSL 4.50 Spec
The OpenGL® Shading Language Language Version: 4.50 Document Revision: 7 09-May-2017 Editor: John Kessenich, Google Version 1.1 Authors: John Kessenich, Dave Baldwin, Randi Rost Copyright (c) 2008-2017 The Khronos Group Inc. All Rights Reserved. This specification is protected by copyright laws and contains material proprietary to the Khronos Group, Inc. It or any components may not be reproduced, republished, distributed, transmitted, displayed, broadcast, or otherwise exploited in any manner without the express prior written permission of Khronos Group. You may use this specification for implementing the functionality therein, without altering or removing any trademark, copyright or other notice from the specification, but the receipt or possession of this specification does not convey any rights to reproduce, disclose, or distribute its contents, or to manufacture, use, or sell anything that it may describe, in whole or in part. Khronos Group grants express permission to any current Promoter, Contributor or Adopter member of Khronos to copy and redistribute UNMODIFIED versions of this specification in any fashion, provided that NO CHARGE is made for the specification and the latest available update of the specification for any version of the API is used whenever possible. Such distributed specification may be reformatted AS LONG AS the contents of the specification are not changed in any way. The specification may be incorporated into a product that is sold as long as such product includes significant independent work developed by the seller. A link to the current version of this specification on the Khronos Group website should be included whenever possible with specification distributions. -
Microtransactions in Aaa Video Games – Are They Really Necessary?
Galactica Media: Journal of Media Studies. 2019. No 1 Game Studies MICROTRANSACTIONS IN AAA VIDEO GAMES – ARE THEY REALLY NECESSARY? Edwin L. Phil Tan (a) (a) Limkokwing University of Creative Technology, Inovasi 1-1, Jalan Teknokrat 1/1, 63000 Cyberjaya, Selangor Darul Ehsan, Malaysia. E-mail: [email protected] Abstract Video games, unlike other forms of media, are a business; money makes the world go round. However, the video game industry is a very unstable place in the eyes of the developers. Initially starting out as low budget projects running on the most basic of hardware, the advances in technology and rising demands from gamers result in a rise in costs for development. The downside is that the price of video games have stayed stagnant throughout the years. Therefore, a switch to using microtransactions may seem like the best option, but then again it may actually have some detrimental effect on the industry and the people who play. This paper will reflect back on how microtransactions in video games came about and the backlash they have on certain AAA games. The selected AAA titles covered in this paper have been released between late 2018 and early 2019 and will look at the various monetary features that have gained criticism from journalists and fans. Keywords Microtransactions, games, computer games, video games, AAA games, in-game purchases, real world currency This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License 127 Галактика медиа: журнал медиа исследований. 2019. No 1 Исследования игр 1. HISTORY OF VIDEO GAME PRODUCTION When you look at how video games got started, they were mostly cheap to make and allowed either a single or multiple people to play together on a single machine (Schultz, 2018). -
Implementing FPGA Design with the Opencl Standard
Implementing FPGA Design with the OpenCL Standard WP-01173-3.0 White Paper Utilizing the Khronos Group’s OpenCL™ standard on an FPGA may offer significantly higher performance and at much lower power than is available today from hardware architectures such as CPUs, graphics processing units (GPUs), and digital signal processing (DSP) units. In addition, an FPGA-based heterogeneous system (CPU + FPGA) using the OpenCL standard has a significant time-to-market advantage compared to traditional FPGA development using lower level hardware description languages (HDLs) such as Verilog or VHDL. 1 OpenCL and the OpenCL logo are trademarks of Apple Inc. used by permission by Khronos. Introduction The initial era of programmable technologies contained two different extremes of programmability. As illustrated in Figure 1, one extreme was represented by single core CPU and digital signal processing (DSP) units. These devices were programmable using software consisting of a list of instructions to be executed. These instructions were created in a manner that was conceptually sequential to the programmer, although an advanced processor could reorder instructions to extract instruction-level parallelism from these sequential programs at run time. In contrast, the other extreme of programmable technology was represented by the FPGA. These devices are programmed by creating configurable hardware circuits, which execute completely in parallel. A designer using an FPGA is essentially creating a massively- fine-grained parallel application. For many years, these extremes coexisted with each type of programmability being applied to different application domains. However, recent trends in technology scaling have favored technologies that are both programmable and parallel. Figure 1. -
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. -
The Cloud Is Here: Embrace the Transition
Hybrid cloud SaaS IaaS Private cloud Public cloud PaaS The cloud is here: embrace the transition How organizations can stop worrying and learn to “think cloud” Clouds in the forecast 3 The cloud’s sunny side 4 Avoid common pitfalls 6 Doing cloud “right” 12 Follow the steps 16 Conclusion 21 Contacts 22 Endnotes 23 The cloud is here: embrace the transition | Introduction Clouds in the forecast The emergence of cloud computing has business and information technology (IT) leaders asking fundamental questions: How can we better understand the risks and opportunities that cloud computing presents? How do we take advantage of these opportunities, not fall behind, and not make costly mistakes? How do we survive and thrive in the cloud? The growth and maturation of the cloud Some notable examples of leading marketplace has not only proven the software deployed via cloud services viability of commercial cloud offerings include business productivity suites (such but also represents a fundamental shift as Google G Suite, Microsoft Office 365), in technology management philosophy. customer relationship management With traditional practices garnering limited (e.g., Salesforce.com), enterprise service return on investment and providing limited management (e.g., ServiceNow), talent business agility, organizations are moving management (e.g., SuccessFactors, Taleo), away from the do‑it‑yourself mentality and and even full suites of Enterprise Resource toward using technology services from Planning (ERP) solutions. This list is rapidly cloud services providers (CSPs), who can do expanding as software companies begin things better, faster, and often cheaper. the transition from delivering their software as on‑premise installations to software While many organizations are apprehensive as a service (SaaS) delivery models. -
Television Academy Awards
2019 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance F Is For Family • The Stinger • Netflix • Wild West Television in association with Gaumont Television Kevin Michael Richardson as Rosie Family Guy • Con Heiress • FOX • 20th Century Fox Television Seth MacFarlane as Peter Griffin, Stewie Griffin, Brian Griffin, Glenn Quagmire, Tom Tucker, Seamus Family Guy • Throw It Away • FOX • 20th Century Fox Television Alex Borstein as Lois Griffin, Tricia Takanawa The Simpsons • From Russia Without Love • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Moe, Carl, Duffman, Kirk When You Wish Upon A Pickle: A Sesame Street Special • HBO • Sesame Street Workshop Eric Jacobson as Bert, Grover, Oscar Outstanding Animated Program Big Mouth • The Planned Parenthood Show • Netflix • A Netflix Original Production Nick Kroll, Executive Producer Andrew Goldberg, Executive Producer Mark J. Levin, Executive Producer Jennifer Flackett, Executive Producer Joe Wengert, Supervising Producer Ben Kalina, Supervising Producer Chris Prynoski, Supervising Producer Shannon Prynoski, Supervising Producer Anthony Lioi, Supervising Producer Gil Ozeri, Producer Kelly Galuska, Producer Nate Funaro, Produced by Emily Altman, Written by Bryan Francis, Directed by Mike L. Mayfield, Co-Supervising Director Jerilyn Blair, Animation Timer Bill Buchanan, Animation Timer Sean Dempsey, Animation Timer Jamie Huang, Animation Timer Bob's Burgers • Just One Of The Boyz 4 Now For Now • FOXP •a g2e0 t1h Century -
Integrated High Definition LED Television User's Guide
Integrated High Definition LED Television User’s Guide: 32L4300U / 39L4300U / 50L4300U / 58L4300U 50L7300U / 58L7300U / 65L7300U If you need assistance: Toshiba's Support Web site support.toshiba.com For more information, see “Troubleshooting” on page 160 in this guide. Owner's Record The model number and serial number are on the back and side of your television. Record these numbers, whenever you communicate with your Toshiba dealer about this Television. Model name: Serial number: Register your Toshiba Television at register.toshiba.com Note: To display a High Definition picture, the TV must be receiving a High Definition signal (such as an over- the-air High Definition TV broadcast, a High Definition digital cable program, or a High Definition digital satellite program). For details, contact your TV antenna installer, cable provider, or GMA300019013 satellite provider 6/13 2 CHILD SAFETY: PROPER TELEVISION PLACEMENT MATTERS TOSHIBA CARES • Manufacturers, retailers and the rest of the consumer electronics industry are committed to making home entertainment safe and enjoyable. • As you enjoy your television, please note that all televisions – new and old- must be supported on proper stands or installed according to the manufacturer’s recommendations. Televisions that are inappropriately situated on dressers, bookcases, shelves, desks, speakers, chests, carts, etc., may fall over, resulting in injury. TUNE IN TO SAFETY • ALWAYS follow the manufacturer’s recommendations for the safe installation of your television. • ALWAYS read and follow all instructions for proper use of your television. • NEVER allow children to climb on or play on the television or the furniture on which the television is placed. • NEVER place the television on furniture that can easily be used as steps, such as a chest of drawers. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Le Scatole Magiche È Un film Evento Per Famiglie Dei Creatori Di Coraline E La Porta Magica E Paranorman, Entrambi Candidati All'oscar Per Il Miglior Film D'animazione
Pressbook italiano Presentano Un film diretto da ANTHONY STACCHI e GRAHAM ANNABLE Tratto dal romanzo best seller di ALAN SNOW “Arrivano I Mostri” (Here be Monsters!) Con le voci originali di: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, e Simon Pegg Prodotto da DAVID BLEIMAN ICHIOKA, PGA TRAVIS KNIGHT, PGA Scritto da IRENA BRIGNULL ADAM PAVA Direttore della Fotografia JOHN ASHLEE PRAT Uscita Italiana: 2 Ottobre 2014 Durata del Film: 97 minuti Il materiale fotografico è disponibile sul sito www.upimedia.com Ufficio Stampa Universal Pictures International Italy: Cristina Casati – [email protected] Marina Caprioli – [email protected] Matilde Marinai – [email protected] 1 Pressbook italiano Indice I. Sinossi pag 3 II. La Nascita dello Stop-Motion pag 5 III. Fuori dai Cartoni pag 7 IV. Dar Voce Anche Alle Scatole pag 11 V. I Boxtrolls Si Muovono pag 22 VI. I LAIKAni pag 42 VII. Ritocchi Finali pag 49 VIII. Tutti i Numeri di Boxtrolls pag 52 IX. Il Cast Artistico page 54 X. Il Cast Tecnico page 63 2 Pressbook italiano Sinossi Boxtrolls- Le Scatole Magiche è un film evento per famiglie dei creatori di Coraline e la Porta Magica e ParaNorman, entrambi candidati all'Oscar per il Miglior Film d'Animazione. Si tratta della terza produzione cinematografica dello studio d’animazione con sede in Oregon, LAIKA. Girato in loco presso gli studi LAIKA, in 3D e con metodi avanzati manuali e tecnologici, Boxtrolls- Le Scatole Magiche utilizza disegni manuali, formato grafico ibrido d’animazione in CG e tecnica dello stop-motion, per rappresentare la storia del best-seller fantasy d’ avventura di Alan Snow “Arrivano I Mostri!”. -
Khronos Template 2015
Ecosystem Overview Neil Trevett | Khronos President NVIDIA Vice President Developer Ecosystem [email protected] | @neilt3d © Copyright Khronos Group 2016 - Page 1 Khronos Mission Software Silicon Khronos is an Industry Consortium of over 100 companies creating royalty-free, open standard APIs to enable software to access hardware acceleration for graphics, parallel compute and vision © Copyright Khronos Group 2016 - Page 2 http://accelerateyourworld.org/ © Copyright Khronos Group 2016 - Page 3 Vision Pipeline Challenges and Opportunities Growing Camera Diversity Diverse Vision Processors Sensor Proliferation 22 Flexible sensor and camera Use efficient acceleration to Combine vision output control to GENERATE PROCESS with other sensor data an image stream the image stream on device © Copyright Khronos Group 2016 - Page 4 OpenVX – Low Power Vision Acceleration • Higher level abstraction API - Targeted at real-time mobile and embedded platforms • Performance portability across diverse architectures - Multi-core CPUs, GPUs, DSPs and DSP arrays, ISPs, Dedicated hardware… • Extends portable vision acceleration to very low power domains - Doesn’t require high-power CPU/GPU Complex - Lower precision requirements than OpenCL - Low-power host can setup and manage frame-rate graph Vision Engine Middleware Application X100 Dedicated Vision Processing Hardware Efficiency Vision DSPs X10 GPU Compute Accelerator Multi-core Accelerator Power Efficiency Power X1 CPU Accelerator Computation Flexibility © Copyright Khronos Group 2016 - Page 5 OpenVX Graphs -
Stash03 18494 Maya6 Stash Ad 5/5/04 10:41 AM Page 1 Yes, It’S True
DVD MAGAZINE Outstanding animation, VFX and motion graphics for design and advertising stash03 18494_Maya6_Stash Ad 5/5/04 10:41 AM Page 1 Yes, it’s true. Stash is off to a rip-snorting start. Our third issue, code named Stash 03, will land on the desks of visually acute stashDVD MAGAZINE and well-adjusted professionals in 30 countries on six contients - thank you Kuwait, Cypress and Nigeria. Those desks belong STASH MEDIA INC. to ad agencies, broadcasters, animation studios, post houses, Editor: STEPHEN PRICE producers, directors, creative directors, art directors, copywriters, Publisher: GREG ROBINS Associate editor: HEATHER GRIEVE editors, animators, designers, students and a dental receptionist DVD production: METROPOLIS DVD, in Dallas taking Maya and After Effects classes at night - thank New York you Maureen. This issue will also be available at discerning yet Animation: KYLE SIM, TOPIX, Toronto Toolkit: 3DS Max, Inferno friendly online retailers and terrestrial bookstores in New York, Music: TREVOR MORRIS, Toronto, Los Angeles, Vancouver and Singapore with London to Media Ventures, Santa Monica follow soon. Thanks: CHEYENNE, MAYA, NICOLE, JASON, TYLER, RADIOIO.COM Cover Image: Honda “Grrr” courtesy NEXUS PRODUCTIONS, London But wait, there’s more - we just renovated the website, rented Stash toolkit: Illustrator, Photoshop, InDesign, Transmit, Powerbook G4s, sunny new digs at Broadway and 12th from real nice people and Helvetica Neue, DIN Mittellschrift retained the multi-talented Heather G to keep us sane. Instructions: Fluff with a fork. SUBSCRIBE at www.stashmedia.tv Looks like this would be the time to get those submissions in Legal things: Stash Magazine and Stash DVD are published 12 times per year by Stash ‘cause I’m in a really good mood. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry.