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Relevant bibliographies by topics / Animated Rendering

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Academic literature on the topic 'Animated Rendering'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Animated Rendering"

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Xu, Ren Jie, Dong Ya Wu, and Yang Ming. "GPU-Based Rendering Method of Virtual Human Motion." Applied Mechanics and Materials 303-306 (February 2013): 1547–51. http://dx.doi.org/10.4028/www.scientific.net/amm.303-306.1547.

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This paper doing research on the technology of multiple virtual human’s rendering. With the problem of too much triangular patches needed to be rendering ,make improvement on the technology of instancing based on GPU and combinate the method of LOD, put forward the algorithm of large-scale animated virtual human rendering based on instancing. This algorithm reduces the communicating overhead between CPU and GPU, raises the efficiency of large-scale animated virtual human rendering.

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Günther, Tobias, Kai Rohmer, Christian Rössl, Thorsten Grosch, and Holger Theisel. "Stylized Caustics: Progressive Rendering of Animated Caustics." Computer Graphics Forum 35, no. 2 (2016): 243–52. http://dx.doi.org/10.1111/cgf.12827.

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Wand, Michael, and Wolfgang Strabetaer. "Multi-Resolution Rendering of Complex Animated Scenes." Computer Graphics Forum 21, no. 3 (2002): 483–91. http://dx.doi.org/10.1111/1467-8659.00608.

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Wand, M., and W. Straßer. "Multi-Resolution Rendering of Complex Animated Scenes." Computer Graphics Forum 21, no. 3 (2002): 483–91. http://dx.doi.org/10.1111/1467-8659.t01-1-00608.

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Kähler, Kolja, Jörg Haber, and Hans-Peter Seidel. "Dynamically refining animated triangle meshes for rendering." Visual Computer 19, no. 5 (2003): 310–18. http://dx.doi.org/10.1007/s00371-002-0185-8.

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Winarja, Winarja, M. Suyanto, and Asro Nasiri. "Analisis Dan Optimasi Rendering Pada Autodesk Maya Dengan Menggunakan UE4." Creative Information Technology Journal 7, no. 2 (2021): 142. http://dx.doi.org/10.24076/citec.2020v7i2.260.

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Proses rendering pada pembuatan film 3D animasi merupakan pekerjaan yang sangat memakan banyak waktu dikarenakan banyaknya frame yang diperlukan untuk membuat film 3D animasi. Pada proses rendering satu frame dalam film 3D animasi biasanya membutuhkan waktu hingga beberapa jam dikarenakan proses kalkulasi render yang terdiri dari data model, data shader, data texture, dan data lighting dalam sebuah shot pada adegan 3D animasi. Dengan menggunakan proses render secara frame per frame maka proses render akan memerlukan waktu yang lama sehingga penulis akan melakukan penelitian pada proses rendering dengan menggunakan software game engine pada Unreal Engine 4 sebagai kalkulasi render secara realtime. Dari data yang semula dilakukan proses render pada software maya dan selanjutnya akan dilakukan perubahan data dari file maya diubah menjadi FBX file sebagai data yang akan di proses pada software Unreal Engine 4 (UE4). Dengan penggunaan game engine sebagai hasil akhir dalam menampilkan hasil render secara realtime sangatlah membantu dalam mendapatkan kelancaran pada sebuah proses produksi pada film 3D animasi. Kata Kunci—animasi 3D, rendering, real time render, game engine.The rendering process in making animated 3D movies is a very time-consuming job due to the large number of frames needed to make animated 3D films. In the rendering process one frame in an animated 3D movie usually takes up to several hours because the rendering calculation process consists of model data, shader data, texture data, and lighting data in a shot on a 3D animated scene. By using the rendering process in a frame per frame, the rendering process will require a long time so the writer will conduct research on the rendering process by using the game engine software on Unreal Engine 4 as a realtime rendering calculation. From the data that was originally done in the virtual software rendering process and then the data will be changed from the virtual file to be converted into FBX file as data that will be processed in the Unreal Engine 4 software (UE4). Using the game engine as the final result in displaying rendering results in realtime is very helpful in getting fluency in a production process in 3D animated films.Keywords—3D animation, rendering, real time rendering, game engine.

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Umenhoffer, Tamás, László Szirmay-Kalos, László Szécsi, Zoltán Lengyel, and Gábor Marinov. "An image-based method for animated stroke rendering." Visual Computer 34, no. 6-8 (2018): 817–27. http://dx.doi.org/10.1007/s00371-018-1531-9.

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Seifi, Hasti, Steve DiPaola, and Ali Arya. "Expressive Animated Character Sequences Using Knowledge-Based Painterly Rendering." International Journal of Computer Games Technology 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/164949.

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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based painterly rendering system. Furthermore, we present the results of a preliminary study on using this technique for facial expressions in still images. The results of the study show the effect of different color palettes on the intensity perceived for an emotion by users. The proposed technique can provide the animator with a depiction tool to enhance the emotional content of a character sequence in games and animations.

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Marselia, Maya, and Cita Meysiana. "Pembuatan Animasi 3D Sosialisasi Penggunaan Jalur Simpangan dan Bundaran Ketika Berkendara." VOCATECH: Vocational Education and Technology Journal 2, no. 2 (2021): 108–13. http://dx.doi.org/10.38038/vocatech.v2i2.55.

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Abstract   The purpose of this research is to make a 3D animated video that is used to provide information about the ethics of driving at intersections and roundabouts in accordance with the rules that apply to the public or vehicle users, in order to reduce the level of traffic accidents. The making of this 3-dimensional animated video starts with the initial stage, namely determining the idea, the data collection stage, to designing the storyboard. After that, the modeling, texturing, rigging animating, and rendering stage are carried out, using the Blender and Makehuman applications which then produce several 3-dimensional animated video pieces. After the rendering process is complete, the next stage is final editing by providing text, images, transition effects using the Adobe Premiere Pro application and adding audio as voice over to the story script. The last stage is the final rendering which produces a 3-dimensional animated video in the MP4 file format.   Abstrak  Tujuan dari penelitian ini adalah pembuatan video animasi 3D yang digunakan untuk memberikan informasi tentang etika berkendara di simpangan dan bundaran sesuai dengan aturan yang berlaku bagi masyarakat atau pengguna kendaraan, agar dapat mengurangi tingkat kecelakaan lalu lintas. Pembuatan video animasi 3 dimensi ini, dimulai dengan tahap awal yaitu penentuan ide, tahap pengumpulan data, hingga perancangan storyboard. setelah itu dilakukan proses modelling, texturing, rigging animating, hingga tahap rendering, dengan menggunakan aplikasi Blender dan Makehuman yang kemudian menghasilkan beberapa potongan-potongan video animasi 3 dimensi. Setelah proses rendering selesai, tahap selanjutnya adalah final editing dengan memberikan teks, gambar, efek transisi menggunakaan aplikasi Adobe Premiere Pro serta menambahkan audio sebagai pengisi suara pada naskah cerita. Tahap terakhir adalah final rendering yang menghasilkan video animasi 3 dimensi dengan format file MP4.

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Dong, Yangzi, and Chao Peng. "Real-Time Large Crowd Rendering with Efficient Character and Instance Management on GPU." International Journal of Computer Games Technology 2019 (March 26, 2019): 1–15. http://dx.doi.org/10.1155/2019/1792304.

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Achieving the efficient rendering of a large animated crowd with realistic visual appearance is a challenging task when players interact with a complex game scene. We present a real-time crowd rendering system that efficiently manages multiple types of character data on the GPU and integrates seamlessly with level-of-detail and visibility culling techniques. The character data, including vertices, triangles, vertex normals, texture coordinates, skeletons, and skinning weights, are stored as either buffer objects or textures in accordance with their access requirements at the rendering stage. Our system preserves the view-dependent visual appearance of individual character instances in the crowd and is executed with a fine-grained parallelization scheme. We compare our approach with the existing crowd rendering techniques. The experimental results show that our approach achieves better rendering performance and visual quality. Our approach is able to render a large crowd composed of tens of thousands of animated instances in real time by managing each type of character data in a single buffer object.

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Dissertations / Theses on the topic "Animated Rendering"

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Fox, Mark A. "Efficient rendering of animated BlobTrees." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65101.pdf.

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Lister, Wayne Daniel. "Real-time rendering of animated crowd scenes." Thesis, University of East Anglia, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551209.

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Simulated crowds can be found in a wide range of real-time applications. Examples include urban planning and cultural heritage visualizations, disaster and military training simulations, through to perhaps most prominently the use of virtual crowds purely for entertainment purposes in the gaming industry. Crowd simulation is very much an interdisciplinary concern and its importance has motivated researchers from a variety of fields; including computer graphics, psychology and robotics. This thesis considers the problem purely from a computer graphics perspective and introduces three new techniques to animate and draw a crowd of virtual humans in real-time. Contribution 1 addresses vertex skinning and begins by noting that for scenes in which many thousands of characters are visualized, it is often the case that individuals are doing much the same thing. A caching system is therefore proposed and used to accelerate the rendering of a crowd by taking advantage of the temporal and intra-crowd coherencies that are inherent within a populated scene. The approach can be considered a geometric interpretation of dynamic impostors and is best suited to low-entropy scenes such as sports fans clapping and cheering in a stadium. Contributions 2 and 3 consider skeletal animation. For performance reasons previous works have relied heavily on pre-computation when animating their crowds but the associated trade- off is control. It is currently far too difficult to make members of a crowd do anything other than play a scripted animation clip and high-level techniques such as inverse kinematics are yet to be fully explored. This thesis describes how a combination of compute shaders and middleware can remove the need for pre-computation and enable a huge library of 'off-the- shelf' animation techniques, not usually available when visualizing a crowd, to be deployed on thousands of crowd members simultaneously.

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Eriksson, Oliver, and William Lindblom. "Comparing Perception of Animated Imposters and 3D Models." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280333.

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In modern 3D games and movies, large character crowds are commonly rendered which can be expensive with regard to rendering times. As character complexity increases, so does the need for optimizations. Level of Detail (LOD) techniques are used to optimize rendering by reducing geometric complexity in a scene. One such technique is reducing a complex character to a textured flat plane, a so called imposter. Previous research has shown that imposters are a good way of optimizing 3D-rendering, and can be done without decreasing visual fidelity compared to 3D-models if rendered statically up to a one- to-one pixel to texel ratio. In this report we look further into using imposers as an LOD technique by investigating how animation, in particular rotation, of imposters at different distances affects human perception when observing character crowds. The results, with regards to static non rotating characters, goes in line with previous research showing that imposters are indistinguishable from 3D-models when standing still. When introducing rotation, slow rotation speed is shown to be a dominant factor compared to distance which reveals crowds of imposters. On the other hand, the results suggest that fast movements could be used as a means for hiding flaws in pre-rendered imposters, even at near distances, where non moving imposters otherwise could be distinguishable.<br>I moderna 3D-spel och filmer är rendering av stora mängder karaktärer vanligt förekommande, vilket kan vara kostsamt med avseende på renderingstider. Allt eftersom karaktärernas komplexitet ökar så ökar behovet av optimeringar. Level of Detail (LOD) tekniker används för att optimera rendering genom att reducera geometrisk komplexitet i en scen. En sådan teknik bygger på att reducera en komplex karaktär till ett texturtäckt plan, en så kallad imposter. Tidigare forskning har visat att imposters är ett bra sätt att optimera 3D-rendering, och kan användas utan att minska visuell trohet jämfört med 3D-modeller om de renderas statiskt upp till ett förhållande av en-till-en pixel per texel. I den här rapporten tittar vi vidare på imposters som en LOD teknik genom att undersöka hur animering, i synnerhet rotation, av imposters vid olika avstånd påverkar mänsklig iaktagelseförmåga när folkmassor av karaktärer observeras. Resultaten, med hänsyn till statiska icke-roterande karaktärer, går i linje med tidigare forskning och visar att imposters inte är urskiljbara från 3D-modeller när de står stilla. När rotation introduceras visar det sig att långsam rotation är en dominerande faktor jämfört med avstånd som avslöjar folkmassor av imposters. Å andra sidan tyder resultaten på att snabba rörelser skulle kunna användas för att dölja brister hos förrenderade imposters, även vid små avstånd, där stillastående imposters annars kan vara urskiljbara.

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Guthe, Stefan. "Compression and visualization of large and animated volume data." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=972690638.

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Zubal, Miloš. "Realistická animace kouře." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2007. http://www.nusl.cz/ntk/nusl-412803.

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This work makes basic analysis of historical and current algorithms for smoke animation. Modern approaches to rendering volumetric data are briefly described. We choose algorithms for implementation on basis of this analysis. These algorithms are described in detail and we make emphasis on their important properties according to dedication of this work. Detailed description of implementation follows along with performance measurement. Conclusion evaluates results of work and proposes possible extensions.

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Matulík, Martin. "Modelování a animace biologických struktur." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2018. http://www.nusl.cz/ntk/nusl-377662.

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Following work deals with subject matter of digital modelling and animation of biological structures. Software tools for computer generated images (CGI), well proven in common practice, are evaluated, as well as tools for specific activities, available inside chosen software environment. Among vast pool of modelling approaches are discussed tools suitable for creation and representation of selected structures, along with tools essential for their consequent animation. Possible rendering approaches and their parameters in relation to qualities of resulting computer-generated images are discussed as well. Above-mentioned approaches will be consequently utilized for modelling, physical simulation and animation of erythrocyte’s flow throughout blood vessel in following project. Resulting output of that work will be based on series of digital images, suitable for creating video-sequence containing abovementioned animation in end-user digestible form.

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Černý, Miloš. "Komplexní animace v 3D Studiu Max." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2011. http://www.nusl.cz/ntk/nusl-236931.

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The goal of this project is to inform a reader about compact workflow of creating complex computer animation using 3D modelling and animation software 3ds Max. It guides him through the whole process from creating models, texturing and skinning them, to animation pointed at more difficult parts of the animation process. Beside the practical examples, this paper includes necessary theoretical explanation of particular problems. After reading this paper, the reader should be well acquainted with the compact process of creating the complex animation.

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Spousta, Martin. "Elektronický obchod ve 3D rozměru." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2011. http://www.nusl.cz/ntk/nusl-222821.

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This Diploma thesis deals with problems of making 3D e-shops for their widely usage. It contains the description of current level of e-shop, theoretical solution of the problem of transition to 3D with a description of advantages, disadvantages and warrant of new solution. It contains the practical solution as well.

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Charvát, Jan. "Využití 3D modelování v elektronickém obchodě." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2012. http://www.nusl.cz/ntk/nusl-223386.

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This diploma thesis deals with the possibilities of using 3D modeling in electronic commerce. It describes the theoretical basis and methods of 3D modeling, which is used. Includes description of the current state in electronic presentation, the description of the advantages and disadvantages these procedures, as well as practical implementation of 3D model.

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Matýšek, Michal. "Zobrazování komplexních scén na mobilních zařízeních." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2015. http://www.nusl.cz/ntk/nusl-264958.

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This thesis presents optimization techniques for efficient rendering of complex scenes on mobile devices. The introductory part of the text describes Unity game engine and the topic of mobile game development using this tool. Then follows a presentation of important optimization principles and methods for terrain rendering, large scale rendering of animated objects, rendering of animated water surfaces and of other elements in the scenes. The described methods include both general principles of optimization and specific optimization approaches based on the features of Unity game engine. The implementation of presented methods is described and used in practice in the context of mobile strategy game development.

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Books on the topic "Animated Rendering"

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Grossman, Andrew. Animated Pasts and Unseen Futures: on the Comic Element in Hong Kong Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0006.

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Analyses of horror cinema seldom focus on the genre’s intersections with comedy, perhaps because the dominant influence of psychoanalysis on horror has emphasized gender, sexuality, trauma, abandonment, and various aspects of the unconscious. Yet Hong Kong might well boast world cinema’s most successful engagement of the horror-comedy as a sustained genre. From the late 1970s through the early 1990s, the ghosts and animated corpses of Taoist folklore became invested with the martial arts comedy advanced by Jackie Chan and Sammo Hung, rendering supernatural bodies as clownish cyphers rather than the romantic entities of Enchanting Shadow or AChinese Ghost Story. If spirits represent an intermediary stage between life and death, so too does the stylized clown, whose death-defying feats and transgression of “normal” human limitations render our mortal fears absurd. Presenting superstition as a comedy of stubborn familiarity and reveling in the foolishness of a premodern past, the Hong Kong horror-comedy resists the ideology of the encroaching Mainland, which has often censored “backwards” depictions of Chinese folklore and fantasy. In addition to examining the phenomenology of Hong Kong’s horror-comedies, this chapter also considers how such films fit into overall theories of physical comedy, from Bergson to Koestler.

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Linarelli, John, Margot E. Salomon, and Muthucumaraswamy Sornarajah. The Legal Rendering of Immiseration. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198753957.003.0001.

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This chapter introduces the reader to the ideas and arguments that animate this wide-ranging book. Whereas many works focus on violations of international law, this book is concerned with the law itself. It seeks to demonstrate how the truth about the role and effects of the law in the creation and perpetuation of misery fail adequately to inform it. From its early inception to the present day, international law has always been predicated on private property and commodification and so the social and political values that are constitutive of economies as much as property and contract have, in important ways, been forsaken. In laying the ground, this chapter distinguishes fact from fiction in the nature and scale of harms and alienations, to introduce the pluralist approach taken in this critique of international law. In that diverse traditions from liberal to radical shed light on the problems and their possible redress, it is explained in this chapter how the book engages these various traditions. In calling for a ‘predistributive’ international law, the chapter foregrounds the need to move from mere redistribution to making international law just in the first place, in a structural sense. In its coverage of what this book is and is not about, this first chapter seeks to unshackle the reader from deep-rooted assumptions that frame the debates around economic globalization and to begin the critical project of exploring how international law is both constituted by capitalism and constitutive of it and with what implications for justice reasonably understood.

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Book chapters on the topic "Animated Rendering"

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Chen, Ting-Yen, and Reinhard Klette. "Animated Non-photorealistic Rendering in Multiple Styles." In Image and Video Technology – PSIVT 2013 Workshops. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-53926-8_2.

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Yeo, Young In, Sagar Bhandare, and Jörg Peters. "Efficient Pixel-accurate Rendering of Animated Curved Surfaces." In Mathematical Methods for Curves and Surfaces. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-54382-1_28.

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Ramos, Francisco, Oscar Ripolles, and Miguel Chover. "Continuous Level of Detail for Large Scale Rendering of 3D Animated Polygonal Models." In Articulated Motion and Deformable Objects. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31567-1_19.

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White, Tony. "Rendering." In How to Make Animated Films. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81033-1.00031-5.

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White, Tony. "Rendering." In How to Make Animated Films. Routledge, 2013. http://dx.doi.org/10.4324/9780080927848-33.

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Assaf, Rodrigo, Sahra Kunz, and Luís Teixeira. "The Presence of the Uncanny Valley Between Animation and Cinema." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3669-8.ch005.

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Despite all the technological advances in the field of computer graphics, the uncanny valley effect is still an observed phenomenon affecting not only how animated digital characters are developed but also the audience's reaction during a film session. With the emergence of computer-generated images being used in films, this chapter aims at presenting a multidisciplinary approach concerning the uncanny valley topic. This phenomenon is mainly explained by several psychological theories based on human perception; however, this chapter contributes to the discussion presenting a communication perspective based on the uses and gratification theory connected to the genre theory proposed by Daniel Chandler. In addition, the authors discuss how the technological evolution in rendering is helping out artists to cross the valley, which ends up being unveiled only by motion. As a result of this technical evolution, it is proposed a new animation art style category defined as quasi-real.

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Mkrttchian, Vardan, and Galina Stephanova. "Training of Avatar Moderator in Sliding Mode Control Environment for Virtual Project Management." In Project Management Approaches for Online Learning Design. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2830-4.ch009.

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This chapter describes a development of algorithms, software, and hardware for avatar management and avatar moderator training systems, using the principle of practical tendency in sliding mode control environment and illustrating its applicability in virtual communications project management. The avatar is a computer-synthesized animated three-dimensional model, acting as a virtual representation of a real person, or as a visualization of the communication system of artificial intelligence. It is required to develop and evaluate realistic avatar interfaces as portals to intelligent software capable of relaying knowledge and skills in various subject areas. The chapter focuses on integrating speaker-independent continuous speech recognition, context technology of intelligent dialogue system in real-time, graphics rendering based on motion capture (motion capture is used by avatar to accompany the verbal information with gestures), and the development of applied information systems with avatar technology for different subject areas. Thus, created algorithms, software, and hardware are now use in collaboration works at the Astrakhan State University (Russian Federation) and at HHH University (Australian Federation and the Republic of Armenia) for the development of avatars for project management in design of real virtual control systems.

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Mkrttchian, Vardan, and Galina Stephanova. "Training of Avatar Moderator in Sliding Mode Control Environment for Virtual Project Management." In Enterprise Resource Planning. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-4153-2.ch074.

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This chapter describes a development of algorithms, software, and hardware for avatar management and avatar moderator training systems, using the principle of practical tendency in sliding mode control environment and illustrating its applicability in virtual communications project management. The avatar is a computer-synthesized animated three-dimensional model, acting as a virtual representation of a real person, or as a visualization of the communication system of artificial intelligence. It is required to develop and evaluate realistic avatar interfaces as portals to intelligent software capable of relaying knowledge and skills in various subject areas. The chapter focuses on integrating speaker-independent continuous speech recognition, context technology of intelligent dialogue system in real-time, graphics rendering based on motion capture (motion capture is used by avatar to accompany the verbal information with gestures), and the development of applied information systems with avatar technology for different subject areas. Thus, created algorithms, software, and hardware are now use in collaboration works at the Astrakhan State University (Russian Federation) and at HHH University (Australian Federation and the Republic of Armenia) for the development of avatars for project management in design of real virtual control systems.

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Farmer, James. "Naturalism and Contrapposto in the Ceramics of Ancient Ecuador." In Ceramics of Ancient America. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056067.003.0003.

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In chapter 3, James Framer investigates a pattern of artistic evolution in depictions of the human figure in a series of figurative ceramic styles originating in ancient coastal Ecuador. Between c.3000 BCE and c.500 CE, a chronological sequence of five distinct but connected ceramic styles emerged in the region: Valdivia, Machalilla, Chorrera, Jamacoaque, and La Tolita. Close scrutiny of changes in the rendering the human figure in this sequence reflect aesthetic and philosophical changes in the intent of both patrons and artists. Comparisons are noted between ancient Ecuadorian and certain other ancient American figurative ceramics and the development of the Classic human figure type in Greek art. This essay argues that certain specific artistic techniques and conventions employed in Classic Greek art, and by which the Classic tradition has long been defined, were also being developed independently by ancient American ceramicists. Contrapposto, high naturalism, canonical proportion and ratios, and highly animated postures and gestures, all seem to have also been developed and applied in the ancient Americas, perhaps reflecting the emergence of a distinct form of ancient American humanistic philosophy, separate but parallel to the more famous Classical tradition from the Old World.

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Kelly, Matthew. "Introduction." In Nature and the Environment in Nineteenth-Century Ireland. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620320.003.0001.

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This introduction considers the ‘environmental turn’ taken in the humanities, and particularly in historical study, suggesting ways in which these developments might animate the future study of nineteenth-century Ireland. Question of agency and the relationship between human and non-human nature are addressed. Also considered is how current environmental concerns, and climate change in particular, should lead us to think anew about the past, rendering familiar subjects unfamiliar. Particular attention is paid to how Ireland’s past might be located within larger global processes, attracting the interest of scholars from throughout the world. It then introduces the individual contributions in the volume, tracing a narrative thread through them in order to demonstrate how a change in optic can significantly change how we think about Ireland’s recent past.

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Conference papers on the topic "Animated Rendering"

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Buchholz, Bert, Tamy Boubekeur, Noura Faraj, Elmar Eisemann, and Sylvain Paris. "Parameterizing animated lines for stylized rendering." In ACM SIGGRAPH 2011 Talks. ACM Press, 2011. http://dx.doi.org/10.1145/2037826.2037863.

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Isidoro, John R., and Pedro V. Sander. "Animated skybox rendering and lighting techniques." In ACM SIGGRAPH 2006 Courses. ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185827.

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Xing, Xiaoxiong, Yoshinori Dobashi, Tsuyoshi Yamamoto, Yosuke Katsura, and Ken Anjyo. "Rendering animated hair under dynamic environmental lighting." In SIGGRAPH Asia 2012 Posters. ACM Press, 2012. http://dx.doi.org/10.1145/2407156.2407201.

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Herout, Adam, and Pavel Zem?�k. "Animated particle rendering in DSP and FPGA." In the 20th spring conference. ACM Press, 2004. http://dx.doi.org/10.1145/1037210.1037246.

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Harris, Mark Wesley, and Sudhanshu Semwal. "Deep Rendering Graphics Pipeline." In WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.11.

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The graphics rendering pipeline is key to generating realistic images, and is a vital process of computational design,modeling, games, and animation. Perhaps the largest limiting factor of rendering is time; the processing requiredfor each pixel inevitably slows down rendering and produces a bottleneck which limits the speed and potential ofthe rendering pipeline. We applied deep generative networks to the complex problem of rendering an animated 3Dscene. Novel datasets of annotated image blocks were used to train an existing attentional generative adversarialnetwork to output renders of a 3D environment. The annotated Caltech-UCSD Birds-200-2011 dataset served asa baseline for comparison of loss and image quality. While our work does not yet generate production qualityrenders, we show how our method of using existing machine learning architectures and novel text and imageprocessing has the potential to produce a functioning deep rendering framework.

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GeethaRamani, R., and I. Arun Nivas. "A rendering pipeline framework for photorealistic rendering of animated virtual objects into real scenes." In 2014 Fourth International Conference on Recent Trends in Information Technology (ICRTIT). IEEE, 2014. http://dx.doi.org/10.1109/icrtit.2014.6996125.

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Dubetz, M. W., J. G. Kuhl, and E. J. Haug. "A Network Implementation of Real-Time Dynamic Simulation With Interactive Animated Graphics." In ASME 1988 Design Technology Conferences. American Society of Mechanical Engineers, 1988. http://dx.doi.org/10.1115/detc1988-0066.

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Abstract This paper presents a network based implementation of real-time dynamic simulation methods. An interactive animated graphics environment is presented that permits the engineer to view high quality animated graphics rendering of dynamic performance, to interact with the simulation, and to study the effects of design variations, while the simulation is being carried out. An industry standard network computing system is employed to interface the parallel processor that carries out the dynamic simulation and a high speed graphics processor that creates and displays animated graphics. Multi-windowing and graphics processing methods that are employed to provide visualization and operator control of the simulation are presented. A vehicle dynamics application is used to illustrate the methods developed and to analyze communication bandwidth requirements for implementation with a compute server that is remote from the graphics workstation. It is shown that, while massive data sets are generated on the parallel processor during realtime dynamic simulation and extensive graphics data are generated on the workstation during rendering and display, data communication requirements between the compute server and the workstation are well within the capability of existing networks.

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Xing, Xiaoxiong, Yoshinori Dobashi, Tsuyoshi Yamamoto, Yosuke Katsura, and Ken Anjyo. "Real-time rendering of animated hair under dynamic, low-frequency environmental lighting." In the 11th ACM SIGGRAPH International Conference. ACM Press, 2012. http://dx.doi.org/10.1145/2407516.2407528.

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Shah, Harshil, Xin Huang, Onur Bingol, Manoj Rajanna, and Adarsh Krishnamurthy. "GPU-Accelerated Post-Processing and Animated Volume Rendering of Isogeometric Analysis Results." In CAD'21. CAD Solutions LLC, 2021. http://dx.doi.org/10.14733/cadconfp.2021.177-181.

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Hussain, Sajid, and Hakan Grahn. "Tracking data structures coherency in animated ray tracing for real-time 3D-rendering." In 2008 International Conference on Emerging Technologies (ICET). IEEE, 2008. http://dx.doi.org/10.1109/icet.2008.4777521.

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