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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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Beacco, A., B. Spanlang, C. Andujar, and N. Pelechano. "A Flexible Approach for Output-Sensitive Rendering of Animated Characters." Computer Graphics Forum 30, no. 8 (2011): 2328–40. http://dx.doi.org/10.1111/j.1467-8659.2011.02065.x.
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Bojrab, Micah, Michel Abdul-Massih, and Bedrich Benes. "Perceptual importance of lighting phenomena in rendering of animated water." ACM Transactions on Applied Perception 10, no. 1 (2013): 1–18. http://dx.doi.org/10.1145/2422105.2422107.
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Beacco, A., C. Andujar, N. Pelechano, and B. Spanlang. "Efficient rendering of animated characters through optimized per-joint impostors." Computer Animation and Virtual Worlds 23, no. 1 (2012): 33–47. http://dx.doi.org/10.1002/cav.1422.
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von Radziewsky, Philipp, Thomas Kroes, Martin Eisemann, and Elmar Eisemann. "Efficient Stochastic Rendering of Static and Animated Volumes Using Visibility Sweeps." IEEE Transactions on Visualization and Computer Graphics 23, no. 9 (2017): 2069–81. http://dx.doi.org/10.1109/tvcg.2016.2606498.
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Lokki, Tapio, Jarmo Hiipakka, Rami Hänninen, Tommi Ilmonen, Lauri Savioja, and Tapio Takala. "Realtime audiovisual rendering and contemporary audiovisual art." Organised Sound 3, no. 3 (1998): 219–33. http://dx.doi.org/10.1017/s1355771898003069.
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Visual rendering is the process of creating synthetic images of digital models. The modelling of sound synthesis and propagation in a virtual space is called sound rendering. In this article we review different audiovisual rendering techniques suitable for realtime rendering of three-dimensional virtual worlds. Virtual environments are useful in various application areas, for example in architectural visualisation. With audiovisual rendering, lighting and acoustics of a modelled concert hall can be experienced early in the design stage of the building. In this article we demonstrate an interactive audiovisual rendering system where an animated virtual orchestra plays in a modelled concert hall. Virtual musicians are conducted by a real conductor who wears a wired data dress suit and a baton. The conductor and the audience hear the music rendered according to the acoustics of the virtual concert hall, creating a lifelike experience.
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Madan, Christopher R. "Creating 3D visualizations of MRI data: A brief guide." F1000Research 4 (August 4, 2015): 466. http://dx.doi.org/10.12688/f1000research.6838.1.
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While magnetic resonance imaging (MRI) data is itself 3D, it is often difficult to adequately present the results papers and slides in 3D. As a result, findings of MRI studies are often presented in 2D instead. A solution is to create figures that include perspective and can convey 3D information; such figures can sometimes be produced by standard functional magnetic resonance imaging (fMRI) analysis packages and related specialty programs. However, many options cannot provide functionality such as visualizing activation clusters that are both cortical and subcortical (i.e., a 3D glass brain), the production of several statistical maps with an identical perspective in the 3D rendering, or animated renderings. Here I detail an approach for creating 3D visualizations of MRI data that satisfies all of these criteria. Though a 3D ‘glass brain’ rendering can sometimes be difficult to interpret, they are useful in showing a more overall representation of the results, whereas the traditional slices show a more local view. Combined, presenting both 2D and 3D representations of MR images can provide a more comprehensive view of the study’s findings.
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Lister, W., R. G. Laycock, and A. M. Day. "A Key-Pose Caching System for Rendering an Animated Crowd in Real-Time." Computer Graphics Forum 29, no. 8 (2010): 2304–12. http://dx.doi.org/10.1111/j.1467-8659.2010.01715.x.
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Ward, Kelly, Nico Galoppo, and Ming Lin. "Interactive Virtual Hair Salon." Presence: Teleoperators and Virtual Environments 16, no. 3 (2007): 237–51. http://dx.doi.org/10.1162/pres.16.3.237.
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User interaction with animated hair is desirable for various applications but difficult because it requires real-time animation and rendering of hair. Hair modeling, in cluding styling, simulation, and rendering, is computationally challenging due to the enormous number of deformable hair strands on a human head, elevating the computational complexity of many essential steps, such as collision detection and self-shadowing for hair. Using simulation localization techniques, multi-resolution representations, and graphics hardware rendering acceleration, we have developed a physically-based virtual hair salon system that simulates and renders hair at accelerated rates, enabling users to interactively style virtual hair. With a 3D haptic interface, users can directly manipulate and position hair strands, as well as employ real-world styling applications (cutting, blow-drying, etc.) to create hairstyles more intuitively than previous techniques.
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Prévoteau, J., S. Chalençon-Piotin, D. Debons, L. Lucas, and Y. Remion. "Multiview Shooting Geometry for Multiscopic Rendering with Controlled Distortion." International Journal of Digital Multimedia Broadcasting 2010 (2010): 1–11. http://dx.doi.org/10.1155/2010/975674.
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A fundamental element of stereoscopic and/or autostereoscopic image production is the geometrical analysis of the shooting and viewing conditions in order to obtain a qualitative 3D perception experience. This paper firstly compares the perceived depth with the shot scene depth from the viewing and shooting geometries for a couple of shooting and rendering devices. This yields a depth distortion model whose parameters are expressed from the geometrical characteristics of shooting and rendering devices. Secondly, these expressions are inverted in order to design convenient shooting layouts yielding chosen distortions on specific rendering devices. Thirdly, this design scheme provides three shooting technologies (3D computer graphics software, photo rail, and camera box system) producing qualitative 3D content for various kinds of scenes (real or virtual, still or animated), complying with any prechosen distortion when rendered on any specific multiscopic technology or device formerly specified.
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Singhal, Sandeep K., and David R. Cheriton. "Exploiting Position History for Efficient Remote Rendering in Networked Virtual Reality." Presence: Teleoperators and Virtual Environments 4, no. 2 (1995): 169–93. http://dx.doi.org/10.1162/pres.1995.4.2.169.
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Distributed virtual reality systems require accurate, efficient remote rendering of animated entities in the virtual environment. Position, velocity, and acceleration information about each player is maintained at the player's local machine, but remote hosts must display this information in real-time to support interaction between users across the network. Prior applications have transmitted position information at the local frame rate, or they have relied on dead-reckoning protocols using higher derivative information to extrapolate entity position between less frequent updates. These approaches require considerable network bandwidth and at times exhibit poor behavior. This paper describes a position history-based protocol whose update packets contain only position information. Remote hosts extrapolate from several position updates to track the location and orientation of entities between infrequent updates. Our evaluation suggests that the position history-based protocol provides a network-scalable solution for generating smooth, accurate rendering of remote entities.
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Sulema, Yevgeniya, and Ihor Los. "LEVELS-OF-DETAIL GENERATION METHOD FOR SKELETAL MESHES." System technologies 6, no. 125 (2019): 3–14. http://dx.doi.org/10.34185/1562-9945-6-125-2019-01.
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This paper is devoted to the development of an algorithm for Levels-Of-Detail generation from skinned meshes. Animated meshes, unlike static ones, cannot be simplified without redistributing or recalculation bone weights. In some cases, objects of rendered scene have redundant details. It happens when their size on a screen, the distance from a virtual camera and other factors are such that there is no sense to display these objects in their full complexity, as it may significantly impact time for rendering one frame. One of the solutions is to create a set of Levels-Of-Detail for each object – a set of meshes and/or texture which represent same object, but with lower level of detail – and change the original object with them, when it is necessary. The simplification of visual models is especially important for visualisation of digital twins of real-world objects, subjects, or processes within the digital twin technology. An analysis of existing algorithms for Levels-Of-Detail generation for animated meshes is presented and discussed. An improved method for Levels-Of-Detail generation is introduced and discussed. The proposed method is based on Houle and Poulin animated mesh simplification. However, there are the following core differences in the proposed method: weights of resulting vertices are interpolated, not just copied; multiple poses are used for simplification input. These new features allow to achieve the animated meshes simplification without significant drawbacks in animation quality and mesh optimization.
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Mueller, Joerg H., Thomas Neff, Philip Voglreiter, Markus Steinberger, and Dieter Schmalstieg. "Temporally Adaptive Shading Reuse for Real-Time Rendering and Virtual Reality." ACM Transactions on Graphics 40, no. 2 (2021): 1–14. http://dx.doi.org/10.1145/3446790.
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Temporal coherence has the potential to enable a huge reduction of shading costs in rendering. Existing techniques focus either only on spatial shading reuse or cannot adaptively choose temporal shading frequencies. We find that temporal shading reuse is possible for extended periods of time for a majority of samples, and we show under which circumstances users perceive temporal artifacts. Our analysis implies that we can approximate shading gradients to efficiently determine when and how long shading can be reused. Whereas visibility usually stays temporally coherent from frame to frame for more than 90%, we find that even in heavily animated game scenes with advanced shading, typically more than 50% of shading is also temporally coherent. To exploit this potential, we introduce a temporally adaptive shading framework and apply it to two real-time methods. Its application saves more than 57% of the shader invocations, reducing overall rendering times up to in virtual reality applications without a noticeable loss in visual quality. Overall, our work shows that there is significantly more potential for shading reuse than currently exploited.
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Guo, Ya Dong. "Three Dimensional Animation Design and Production Based on Computer Graphics." Advanced Materials Research 926-930 (May 2014): 1767–70. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1767.
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This paper presents the design and production of 3D animation based on computer graphics. The main work includes the animated scene design, role design and the post production using computer software. Design software tools are Autodesk Maya and Adobe EffectsCS4. Scene design and role design are very important parts of the animation form. The good scene and role design can improve the animation level and effect; make the animation and rendering a fuller picture. In addition, rich post production can promote the additional value of animation works, has a great influence on the final result of the whole works of taste and art.
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Mohler, Betty J., Sarah H. Creem-Regehr, William B. Thompson, and Heinrich H. Bülthoff. "The Effect of Viewing a Self-Avatar on Distance Judgments in an HMD-Based Virtual Environment." Presence: Teleoperators and Virtual Environments 19, no. 3 (2010): 230–42. http://dx.doi.org/10.1162/pres.19.3.230.
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Few HMD-based virtual environment systems display a rendering of the user's own body. Subjectively, this often leads to a sense of disembodiment in the virtual world. We explore the effect of being able to see one's own body in such systems on an objective measure of the accuracy of one form of space perception. Using an action-based response measure, we found that participants who explored near space while seeing a fully-articulated and tracked visual representation of themselves subsequently made more accurate judgments of absolute egocentric distance to locations ranging from 4 m to 6 m away from where they were standing than did participants who saw no avatar. A nonanimated avatar also improved distance judgments, but by a lesser amount. Participants who viewed either animated or static avatars positioned 3 m in front of their own position made subsequent distance judgments with similar accuracy to the participants who viewed the equivalent animated or static avatar positioned at their own location. We discuss the implications of these results on theories of embodied perception in virtual environments.
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Zavlavsky, Ilya. "A New Technology for Interactive Online Mapping with Vector Markup and XML." Cartographic Perspectives, no. 37 (September 1, 2000): 65–77. http://dx.doi.org/10.14714/cp37.810.
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As Internet cartography matures from static map images to interactive and animated maps, and embraces extensive GIS functionality, the limitations of presenting Web maps as image files become obvious. In this paper, a new technology for Internet cartography is demonstrated that uses direct vector rendering in a browser to create highly interactive virtual maps from distributed sources of geographic data. This technology is made possible by the advent of XML (eXtensible Markup Language) and XML applications for 2D vector rendering such as VML (Vector Markup Language) and SVG (Scalable Vector Graphics). AXIOMAP – Application of XML for Interactive Online Mapping – is a Web map publishing kit and a customizable virtual map interface that allows for the display and manipulation of multiple point, line and area layers, database query, choropleth mapping, hyperlinking, map labeling and annotation. To render maps in a Web browser (Internet Explorer 5, in the current version), AXIOMAP generates VML shapes “on the fly” from XML-encoded geographic data that can physically reside on different servers. A thin client-side solution, AXIOMAP provides for better interactivity than traditional map serverbased approaches. The paper explains the functionality of AXIOMAP, the technology behind it, and presents several applications. A free version of the software can be downloaded from www.elzaresearch.com/landv/.
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Zarrad, Anis. "An Extensible Game Engine to Develop Animated Facial Avatars in 3D Virtual Environment." International Journal of Virtual Communities and Social Networking 8, no. 2 (2016): 12–27. http://dx.doi.org/10.4018/ijvcsn.2016040102.
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Avatar facial expression and animation in 3D Collaborative Virtual Environment (CVE) systems are reconstructed through a complex manipulation of all details that compose it like muscles, bones and wrinkles in 3D space. The need for a fast and easy reconstruction approach has emerged out in the recent years due to its application in various domains; 3D disaster management and military training etc. These details simulation must be as realistic as possible to convey different emotions according to the constantly changing situations in CVE during the runtime. For example, in 3D disaster management, it is important to use dynamic avatar emotions; firefighters should be frightened when dealing with a fire disaster and smiling when treating injures and evacuating habitants. However, the solution of facial animation remains a challenge that restricts the rapid and ease development of facial animation systems. In this work, the author presents extensible game engine architecture to easily produce real-time facial animations using a script atomic action without having to deal with control structures and 3D programing language. The proposed architecture defines various controllers, object behaviors, tactical and graphics rendering, and collision effects to quickly design 3D virtual environment. Firstly, the author gives the concept of atomic expression, and the method to build a parametrized script file according to the atomic expression. Then the author shows the validity of the generated expressions based on the MPEG-4 facial animation framework. Finally, the feasibility of the proposed architecture is tested via a firefighter scenario. The author's approach has the advantages over previous techniques of fitting directly an easy and faster technology with a high degree of programming independence. The author also minimizes the interaction with the game engine during the runtime by injecting dynamically the XML file into the game engine without stopping or restarting the engine.
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Danihelka, Jiri, Roman Hak, Lukas Kencl, and Jiri Zara. "3D Talking-Head Interface to Voice-Interactive Services on Mobile Phones." International Journal of Mobile Human Computer Interaction 3, no. 2 (2011): 50–64. http://dx.doi.org/10.4018/jmhci.2011040104.
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This paper presents a novel framework for easy creation of interactive, platform-independent voice-services with an animated 3D talking-head interface, on mobile phones. The Framework supports automated multi-modal interaction using speech and 3D graphics. The difficulty of synchronizing the audio stream to the animation is examined and alternatives for distributed network control of the animation and application logic is discussed. The ability of modern mobile devices to handle such applications is documented and it is shown that the power consumption trade-off of rendering on the mobile phone versus streaming from the server favors the phone. The presented tools will empower developers and researchers in future research and usability studies in the area of mobile talking-head applications (Figure 1). These may be used for example in entertainment, commerce, health care or education.
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Liu, Xu Min, and Xu Zhai. "Animation Tree in the Wind." Advanced Materials Research 472-475 (February 2012): 1357–60. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.1357.
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Real time modeling and rendering of natural Phenomena has been a hotspot and One of the most difficult tasks in Computer Graphics, it has been found wide application in many domains such as computer animation, computer games, special effects of movie, landscaping, battlefield simulation and virtual reality etc.. Realistic simulation is generally consisting of natural elements simulation and man-made elements simulation, natural elements simulation is relatively complicated. However, in natural elements simulation trees simulation is one of the most complex technologies. In this paper, propose a method that is real-time visualization of animated trees in the wind. Compared with other previous studies, our work is to develop a physical model of real movement by the trees swaying animation. We describe the method is consistent with nature scene that branches move in the wind. Then, we describe a simple animation of trees swaying, in the local graphics processor.
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Walia, Divya. "Life of Pi: A Visual Feast by Digital Cinema." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 5, no. 2 (2016): 114. http://dx.doi.org/10.21013/jems.v5.n2.p6.
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<p><em>The world of media today is undergoing substantial transformation and advancement with various media forms making the most of it to attract the audience. Digital cinematography since 2010 has been enhancing not only the visual impact of the movies but also redefining the way they are produced and created. Silver screen, the most popular form of media too keeps resorting to new innovations to increase the marketing value of its productions by exploiting the technological advancements be it in the form of graphic effects or animations to appeal the watchers. Moreover, the digital world has revolutionalized the way movies are captured thus rendering refinement to its projection on the screen. Even the distribution of the movies, these days, is done via Internet or hard drive.</em><em> </em></p><p><em>In the genre of cinema, Hollywood animated movies amply exemplify the improvement that has resulted because of the contribution of the digitized world. The animated movies have now come a long way from being mere caricatures to real life characters, from being conception to concrete and surreal to real, so much so that these graphic projections are admired as well as emulated as the real life actors.</em><em> </em></p><p><em>One of the masterpieces of digitised visual effects that left the world awestruck was Ang Lee's Life of Pi, a 2012 American Adventure. It was soon perceived as a visual wonder by audiences all over the world for the use of animated technology and the realistic scenes created in 3D. The paper would be an attempt to examine the way visual effects have been exploited by the makers of this movie to create a successful story and a realistic depiction of imaginary on the screen. <br /></em></p>
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Retnowati, Nurcahyani Dewi, Sri Mulyani, and Frencha Talantha. "Three Dimensional Simulation of Changes in Air Flow on a Jet Engine Desktop Based." Compiler 8, no. 1 (2019): 45. http://dx.doi.org/10.28989/compiler.v8i1.431.
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Learning about changes in air flow on jet engines requires a clear understanding because there are parts of the jet engine that work according to their functions and are interconnected. People often have difficulty understanding learning about changes in air flow in the jet engine and also about the brayton cycle. This study aims to make a simulation that explains the changes in air flow in a jet engine with a three-dimensional animated form in order to improve understanding of learning about it. The process of making three-dimensional simulations uses animation modeling techniques, texturing, lighting, editing, and rendering. In modeling and texturing on jet engines following the Brayton cycle. The three-dimensional simulation results show that this simulation can be run by computers with Windows 7 and Windows 8 operating systems, and from the results of user test analysis 80.2% agree that this three-dimensional simulation can be understood and can explain changes in airflow in jet engines.
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GREWE, CORDULA. "BEYOND HEGEL'S END OF ART: SCHADOW'S MIGNON AND THE RELIGIOUS PROJECT OF LATE ROMANTICISM." Modern Intellectual History 1, no. 2 (2004): 185–217. http://dx.doi.org/10.1017/s1479244304000125.
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This article explores the cultural controversy about the relationship between painting and poetry sparked by Wilhelm von Schadow's 1828 rendering of Mignon, a famous literary heroine in Goethe's Wilhelm Meister's Apprenticeship. Following closely a position introduced by Lessing and endorsed by Goethe, and using it to advance his general thesis about the end of art, Hegel argued that Schadow's image transgressed the proper borders of its medium by attempting to translate the poetic into the visual. Schadow, by contrast, insisted on the crucial regenerative role of art in society and art's religious mission, thereby giving an emphatically Christian tenor to the Romantic injunction to strive after the infinite. Animated by these convictions, Schadow turned Goethe's heroine into an allegory of Romantic art, thus “Christianizing” Goethe's neoclassical sensibility. The controversy provoked by Schadow's Mignon provides an opportunity to explore late Romantic aesthetics and the cultural and political meaning of art within the context of the Prussian Restoration, as well as to reconsider the relationship between this putatively conservative sensibility and “modernism.”
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LEE, Alpha Wai Keung, Kazuhisa IKI, and Mitsuo MOROZUMI. "INTERACTIVE RENDERING SYSTEM FOR ANIMATED ASSESSMENT OF LANDSCAPE : A research on the development of an interactive assessment system for the dynamic aspect of landscape." Journal of Architecture and Planning (Transactions of AIJ) 66, no. 546 (2001): 321–28. http://dx.doi.org/10.3130/aija.66.321.
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Borysova, O. V. "COMPREHENSIVE ANALYSIS OF THE COMIC EFFECT RENDERING IN THE PROCESS OF TRANSLATION FROM ENGLISH INTO UKRAINIAN (BASED ON THE ANIMATED FILMS FOR CHILDREN AND THEIR TRANSLATION)." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 3, no. 1 (2020): 76–81. http://dx.doi.org/10.32838/2663-6069/2020.1-3/13.
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BOUVIER, ERIC, and ENRICO GOBBETTI. "TOM: TOTALLY ORDERED MESH A MULTIRESOLUTION STRUCTURE FOR TIME CRITICAL GRAPHICS APPLICATIONS." International Journal of Image and Graphics 01, no. 01 (2001): 115–34. http://dx.doi.org/10.1142/s0219467801000098.
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Tridimensional interactive applications are confronted to situations where very large databases have to be animated, transmitted and displayed in very short bounded times. As it is generally impossible to handle the complete graphics description while meeting timing constraint, techniques enabling the extraction and manipulation of a significant part of the geometric database have been the focus of many research works in the field of computer graphics. Multiresolution representations of 3D models provide access to 3D objects at arbitrary resolutions while minimizing appearance degradation. We describe the TOM (Totally Ordered Mesh), a multiresolution triangle mesh structure tailored to the support of time-critical adaptive rendering. The structure grants high speed access to the continuous levels of detail of a mesh and allows very fast traversal of the list of triangles at arbitrary resolution so that bottlenecks in the graphic pipeline are avoided. Moreover, and without specific compression, the memory footprint of the TOM is small (about 108% of the single resolution object in face-vertex form) so that large scenes can be handled effectively. The TOM structure also supports storage per vertex (or per corner of triangle) attributes such as colors, normals, texture coordinates or dynamic properties. Implementation details are presented along with the results of tests for memory needs, approximation quality, timing and efficacy.
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Rambukkana, Nathan. "The zombie in the grey flannel suit: Romero’s classic Dead trilogy and metaphors of mass subjectivity." Horror Studies 12, no. 1 (2021): 27–44. http://dx.doi.org/10.1386/host_00027_1.
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This article explores the relationship between zombies and ‘mass subjectivity’ through examining the motifs, as well as the critical and scholarly reception, of Romero’s classic Dead movies and their successors. Contrasting the ‘fast zombies’ of later films, Romero’s zombies are withered and decayed versions of everyday people: tattered and frayed at the edges, their colours muted, their skin and clothing rendered in greyed-out tones. They are the mundane dead, animated. Romero’s filmic horror taps an uncanny rendering of the everyday. Gardens, streets and malls are made strange by the homogeneous mob progressing in endless lines, murmuring incoherencies and striving to just be. We can locate the visual character of the zombie within a genealogy of metaphors of mass subjectivity such as the man of the crowd, the badaud figure, constantly searching for a place, but symbolically disarticulated. By considering the sometimes comic, sometimes tragic and often horrific Romero zombie in a lineage of visual and literary figures linked to mass subjectivities – the man in the suit, the monstrous man, the man of the crowd, the badaud – this article answers the question: What does thinking about the relationship between the Romero zombie and mass subjectivity enable us to do, think or observe?
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Lally, Nick, and Luke Bergmann. "Mapping dynamic, non-Euclidean spaces." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-204-2019.
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<p><strong>Abstract.</strong> Space is often described as a dynamic entity in human geographic theory, one that resists being pinned down to static representations. Co-produced in and through relations between various things and phenomena, space in these accounts is variously described as being contingent, processual, plastic, relational, situated, topological, and uneven. In contrast, most cartographic methods and tools are based on static, Euclidean understandings of space that can be reduced to a simple, mathematical description. In this work, I explore how cartography can deal with space as a dynamic and fluid concept that is entangled with the phenomena and objects being mapped. To those ends, I describe a method for creating animated maps based on relational understandings of space that are always in flux.</p><p>This work builds on research in collaboration with Luke Bergmann, where we suggest a move from Geographic Information Systems (GIS) as we commonly know them to the broader realm of <i>geographical imagination systems (gis)</i> that are informed by spatial theory in human geography. The animated maps here are produced using our prototype <i>gis</i> software Enfolding, which use multidimensional scaling (MDS) to visualize relational spaces, in combination with Blender, an open-source 3D rendering program. Written in JavaScript and available as open source software, Enfolding is our first attempt to make gis an accessible set of tools that expand the possibilities for mapping by providing new grammars for creative cartographic practices.</p><p>In the cartographic workflow presented here, I use Enfolding to produce manifolds from a set of points and user-defined distances between points. Changing those measures of distance &amp;ndash; which might represent travel times, affective connections, communicative links, or any other relationship as defined by a user &amp;ndash; produces shifting manifolds. Using the .obj export option in Enfolding, I then import the manifolds into Blender, using them as animation keyframes. In Figure 1, I have added a digital elevation model (DEM) to the 3D figure, producing an animated visualization of a dynamic and relational space that includes a hillshade.</p><p>This workflow represents only one of many creative possibilities for innovative cartographic practices that engage with space as a matter of concern. With growing interest in 3D cartographic methods comes expanded possibilities for visualizing dynamic and relational spaces. Combining conceptual antecedents in both human and quantitative geography with current cartographic methods allows for new approaches to both mapping and space. The workflow and tools that have emerged from this research are presented here with the hope of spurring creative and exploratory cartographic work that draws from but also contributes to vibrant discussions in spatial theory and creative cartography.</p>
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سامي حول, زينب. "Strategies of Subtitling Swear words in The Wolf of Wall Street Movie." لارك 3, no. 34 (2019): 423–32. http://dx.doi.org/10.31185/lark.vol3.iss34.1101.
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Abstract
 Audiovisual translation ( AVT ), including subtitling, constitutes a fundamental part of Translation Theories and Translation Studies; however, it has been neglected till recent years. Gradually, a number of studies begun to appear especially those attributed to the European Association for Studies in Screen Translation. As these studies continually increase, new technologies and media forms became in a glare of publicity. These technologies and forms ,i.e. international and intercultural communications led to the emergence of new forms of translation. The most efficacious and widely-spread form is cinematography. The translation of cinematography works is called AVT. Scholars state ten kinds of AVT which can be united and classified into two main groups, i.e. subtitling and revoicing.
 The present study concerns subtitling which generally means producing a dialogue translation in a film or an animated film in the form of titles usually appear at the bottom of the image or the screen . It attempts to shed light on subtitling( and in particular of swear words ) from English into Arabic in Terence Winter's The Wolf of Wall Street movie. It aims at investigating how the subtitler of this movie has dealt with these words in the original dialogue with the existence of the constraints imposed upon him. A quantitative analysis of the strategies used in subtitling the words and the number of those, the words, which have been changed through rendering , have been set to answer such a question.
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Fathin, Ahmad Sarid Ezra, M. Suyanto, and Amir Fatah Sofyan. "Penerapan Teknik Rotoscoping pada Karakter Animasi 2D Pembelajaran Makhraj Huruf Hijaiyah." Creative Information Technology Journal 8, no. 1 (2021): 1. http://dx.doi.org/10.24076/citec.2021v8i1.262.
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Indonesia sebagai salah satu negara dengan penduduk muslim terbesar di dunia sangat akrab dengan Bahasa Arab. Penggunaan Bahasa Arab telah menjadi kebutuhan baik untuk beribadah atau penggunaan dalam percakapan sehari-hari. Salah satunya adalah membaca Al-Quran. Tidak seperti bacaan yang lain, membaca Al-Qur’an memiliki ketentuan khusus yang harus diperhatikan. Ilmu tersebut dinamakan sebagai ilmu tajwid. Salah satu cabang dalam ilmu tajwid adalah Makhraj Huruf, yaitu ilmu yang mempelajari tentang tempat-tempat keluarnya huruf pada waktu huruf-huruf itu dibunyikan. Mempelajari makhraj huruf dapat dilakukan dengan berbagai cara baik melalui guru secara langsung atau melalui media-media yang tersedia salah satunya dengan animasi. Untuk menghasilkan animasi yang akurat dilakukan teknik rotoscoping dan membandingkannya dengan teknik Auto Lip-Sync sehingga menghasilkan perbandingan baik secara teknis maupun kualitasnya. Parameter pengukuran secara teknis dinilai menggunakan tiga aspek, yaitu frame yang dihasilkan, waktu rendering yang dibutuhkan, dan ukuran file yang dihasilkan. Dari perbandingan tersebut menghasilkan kesimpulan bahwa penggunaan teknik rotoscoping menghasilkan animasi yang nautral dan akurat. Sesuai dengan respon pengguna, animasi ini dapat digunakan sebagai media pembelajaran pendamping karena tidak bisa mengganti cara konvensional dalam belajar makhraj huruf. Kata Kunci— Animasi 2D, Rotoscoping, Auto Lip-sync, Makhraj Huruf, Huruf Hijaiyah, Indonesia as one of the countries with the largest Muslim population in the world is very familiar with Arabic. The use of Arabic has become a necessity for worship or use in daily conversation. One of them is reading the Quran. Unlike other book, reading the Qur'an has special provisions that must be considered. The knowledge is called tajweed. One branch of tajweed is makhraj huruf, which is the study of the places where letters are released when the letters are sounded. Learning the letters makhraj can be done in various ways either through the teacher directly or through the media available, one of them with animation. To produce an accurate animation rotoscoping technique and compare it with the Auto Lip-Sync technique to produce a comparison both technically and quality. Measurement parameters are technically assessed using three aspects, namely the resulting frame, the required rendering time, and the resulting file size. From these comparisons, it can be concluded that the use of rotoscoping techniques in making animated letters recognition introduces accurate and accurate animations. In accordance with user responses, this animation can be used as a companion of learning because it cannot replace conventional ways of learning letter makhraj.Keywords—2D Animation, Rotoscoping, Auto Lip-Sync, Makhraj Huruf, Hijaiyah Letters
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Shchehelska, Yu. "ПРОБЛЕМАТИКА ЗАСТОСУВАННЯ ТРИВИМІРНОЇ АНІМАЦІЇ ТА СПЕЦИФІКА ЇЇ СПРИЙНЯТТЯ В ДОДАНІЙ РЕАЛЬНОСТІ: КОМУНІКАЦІЙНИЙ АСПЕКТ". State and Regions. Series: Social Communications, № 2(42) (18 березня 2020): 132. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).20.
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<p><em>This study elucidates the main communication issues that arise from audiences’ interaction with three-dimensional animation of different types in augmented reality, as well as identifies the major 3D animations’ varieties used by brands to create AR and MR promotional campaigns. </em></p><p><em>The results of the study are based, in particular, on the analysis of AR cases of 27 commercial and social brands that used 3D animation for promotional purposes in 2010–2019.</em></p><p><em>It is ascertained that in the promotional practice there is used 3D predefined animation of a cartoon type, as well as 3D predefined and procedural non-homomorphic photorealistic animation. At the same time, three-dimensional procedural animation of cartoon type, as well as photorealistic animation of people (either predefined or procedural), was not used by any of the studied brands for the purpose of promotion.</em></p><p><em>The research revealed that in the field of promotion three-dimensional photorealistic animation of people, primarily of procedural type, is not used because it creates the majority of communication problems in the interaction of the audience with it. Real people’s displeasure with the animated ones arises, first of all, because of the “uncanny valley effect”, which is caused, in particular, by the technical difficulties with 3D rendering of human emotions and body language in real-time (including proxemics in a virtual environment); visual tracking of human movements by animated character; the naturalness and synchronicity of the language (above all, the content of the cues) and the sound of the voice of three-dimensional persons (its timbre, rhythmics, emotionality).</em></p><p><em>In general, today from a technical point of view photorealistic non-homomorphic animation is the most advanced 3D animation type, which explains the popularity of its use in the practice of promotional communications. Its predefined variety is most commonly used by automotive brands to create AR-campaigns, whereas procedural one is used in creating MR-campaigns, mainly for cosmetic and interior brands.</em></p><p><em>The predefined 3D animation of cartoon type was used to promote those commercial brands, which final consumers were, above all, children. However, some companies have used this kind of animation to create AR-based adult promotional events held in conjunction with the holiday and symbolic dates. The popularity of the use of 3D animation of cartoon type in the field of promotion is explained, first of all, by the fact that people at a subconscious level have a positive attitude towards cartoon characters as such.</em></p><strong><em>Key words:</em></strong><em> augmented reality (AR), mixed reality (MR), 3D animation, promotional communications.</em>
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Pur, Daiana R., Roy Eagleson, Marcus Lo, Michael T. Jurkiewicz, Andrea Andrade, and Sandrine de Ribaupierre. "Presurgical brain mapping of the language network in pediatric patients with epilepsy using resting-state fMRI." Journal of Neurosurgery: Pediatrics 27, no. 3 (2021): 259–68. http://dx.doi.org/10.3171/2020.8.peds20517.
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OBJECTIVEEpilepsy affects neural processing and often causes intra- or interhemispheric language reorganization, rendering localization solely based on anatomical landmarks (e.g., Broca’s area) unreliable. Preoperative brain mapping is necessary to weigh the risk of resection with the risk of postoperative deficit. However, the use of conventional mapping methods (e.g., somatosensory stimulation, task-based functional MRI [fMRI]) in pediatric patients is technically difficult due to low compliance and their unique neurophysiology. Resting-state fMRI (rs-fMRI), a “task-free” technique based on the neural activity of the brain at rest, has the potential to overcome these limitations. The authors hypothesized that language networks can be identified from rs-fMRI by applying functional connectivity analyses.METHODSCases in which both task-based fMRI and rs-fMRI were acquired as part of the preoperative clinical protocol for epilepsy surgery were reviewed. Task-based fMRI consisted of 2 language tasks and 1 motor task. Resting-state fMRI data were acquired while the patients watched an animated movie and were analyzed using independent component analysis (i.e., data-driven method). The authors extracted language networks from rs-fMRI data by performing a similarity analysis with functionally defined language network templates via a template-matching procedure. The Dice coefficient was used to quantify the overlap.RESULTSThirteen children underwent conventional task-based fMRI (e.g., verb generation, object naming), rs-fMRI, and structural imaging at 1.5T. The language components with the highest overlap with the language templates were identified for each patient. Language lateralization results from task-based fMRI and rs-fMRI mapping were comparable, with good concordance in most cases. Resting-state fMRI–derived language maps indicated that language was on the left in 4 patients (31%), on the right in 5 patients (38%), and bilateral in 4 patients (31%). In some cases, rs-fMRI indicated a more extensive language representation.CONCLUSIONSResting-state fMRI–derived language network data were identified at the patient level using a template-matching method. More than half of the patients in this study presented with atypical language lateralization, emphasizing the need for mapping. Overall, these data suggest that this technique may be used to preoperatively identify language networks in pediatric patients. It may also optimize presurgical planning of electrode placement and thereby guide the surgeon’s approach to the epileptogenic zone.
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Pratama, Riens, and Riana Defi Mahadji Putri. "Penerapan Animasi 3D pada Media Pembelajaran Mengenal Huruf Vocal untuk Anak 2-4 Tahun." Jurnal Teknologi Informasi dan Ilmu Komputer 7, no. 6 (2020): 1099. http://dx.doi.org/10.25126/jtiik.2020762175.
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<p class="Abstrak"><span lang="IN">Pengenalan huruf vokal bagi anak usia dini harus diperkenalkan sejak dini karena huruf vokal berfungsi untuk merangkai huruf dari kumpulan konsonan yang dijadikan suatu perkataan. Komputer grafis telah berdampak signifikan pada banyak bidang salah satunya animasi komputer. Animasi komputer dapat diimplemantasikan bagi anak untuk belajar karena dalam masa perkembangannya anak memiliki kecenderungan meniru dan mengamati sehingga memudahkan anak dalam menerima materi. Penelitian ini bertujuan untuk merancang dan mengetahui kelayakan animasi 3D pada media pembelajaran mengenal huruf vokal. Metode penelitian menggunakan model pengembangan waterfall meliputi tahapan pra produksi, produksi dan pasca produksi. Tahap pra produksi, (a) penentuan ide dan cerita; (b) desain karakter; (c) <em>storyboard</em>; (d) perekaman suara. Tahap produksi, (a) <em>modeling</em>; (b) <em>texturing</em>; (c) <em>rigging</em>; (d) <em>animating</em>; (e) <em>lighting</em>; (f) <em>camera operation</em>; (g) <em>rendering</em>. Tahap pasca produksi, (a) <em>final editing</em>; (b) hasil <em>video</em> animasi. Media animasi 3D mengenal huruf vokal dikategorikan layak setelah dilakukan validasi oleh 4 ahli media. Hal ini dibuktikan dalam pengujian pertama media didapatkan hasil rata-rata 81% yang berada pada kategori layak dengan catatan revisi sesuai saran. Pengujian kedua setelah media direvisi didapatkan hasil rata-rata 86,5% yang berada pada kategori sangat layak.</span></p><p class="Abstrak" align="center"><span lang="IN"> </span></p><p class="Abstrak"><em><strong>Abstract</strong></em></p><p class="Abstrak"><em><em>The recognition of vowels for early childhood needs to be introduced early because the vowels function to string the letters of the consonant groups that are used as words. Based on the observation in KB Syiarul IslamTegal that the learning media know the vowels still use a simple props that is a vocal board attached to the class wall. This makes the child easily saturated and uninterested. In addition there is no media learning in the form of 3D animation. Anticipating these constraints, new learning media is needed using 3D animation. 3D animation can be implanted for the child to learn because in its development period the child has a tendency to emulate and observe so as to facilitate the child in receiving material. In general, this research aims to design and know the feasibility of visual elements (images, writings) and 3D animations on the media learning to know the vocal letters. The research method uses waterfall development model according to M. Suyanto (2006) which includes pre production stage, production and post production. Pre-production stage, (a) determination of ideas and stories; (b) Character design; (c) Storyboard; (d) Voice recording. Production stage, (a) modeling; (b) texturing; (c) Rigging; (d) Animating; (e) Lighting; (f) Camera operation; (g) Rendering. Post-production stage, (a) final editing; (b) The result of animated video. 3D animation Media know the vowels categorized worthy with the assessment of some aspects such as the aspect of image quality, sound quality, media content, objects and characters, background, animation techniques, storyline, and the impression of the video done validation by 4 Media experts. This is evidenced in the first test of the media obtained an average result of 81% which is in decent category with revision notes as per suggestion. The second Test after the revised media obtained an average yield of 86.5% which is in very decent category</em></em></p>
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Lawlor, Orion Sky. "GPU-Accelerated Rendering of Unbounded Nonlinear Iterated Function System Fixed Points." ISRN Computer Graphics 2012 (March 20, 2012): 1–17. http://dx.doi.org/10.5402/2012/825782.
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Nonlinear functions, including nonlinear iterated function systems, have interesting fixed points. We present a non-Lipschitz theoretical approach to nonlinear function system fixed points which generalizes to noncontractive functions, compare several methods for evaluating such fixed points on modern graphics hardware, and present a nonlinear generalization of Barnsley’s Deterministic Iteration Algorithm. Unlike the many existing randomized rendering algorithms, this deterministic method avoids noncoherent branching and memory access and takes advantage of programmable texture mapping hardware. Together with the performance potential of modern graphics hardware, this allows us to animate high-quality and high-definition fixed points in real time.
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Petikam, Lohit, Ken Anjyo, and Taehyun Rhee. "Shading Rig: Dynamic Art-directable Stylised Shading for 3D Characters." ACM Transactions on Graphics 40, no. 5 (2021): 1–14. http://dx.doi.org/10.1145/3461696.
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Despite the popularity of three-dimensional (3D) animation techniques, the style of 2D cel animation is seeing increased use in games and interactive applications. However, conventional 3D toon shading frequently requires manual editing to clean up undesired shadows or add stylistic details based on art direction. This editing is impractical for the frame-by-frame editing in cartoon feature film post-production. For interactive stylised media and games, post-production is unavailable due to real-time constraints, so art-direction must be preserved automatically. For these reasons, artists often resort to mesh and texture edits to mitigate undesired shadows typical of toon shaders. Such edits allow real-time rendering but are limited in resolution, animation quality and lack detail control for stylised shadow design. In our framework, artists build a “shading rig,” a collection of these edits, that allows artists to animate toon shading. Artists pre-animate the shading rig under changing lighting, to dynamically preserve artistic intent in a live application, without manual intervention. We show our method preserves continuous motion and shape interpolation, with fewer keyframes than previous work. Our shading shape interpolation is computationally cheaper than state-of-the-art image interpolation techniques. We achieve these improvements while preserving vector quality rendering, without resorting either to high texture resolution or mesh density.
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Wang, Sen Hua, Xiang Zhong Li, and Li Zhang. "The Rendering System Planning of the 3D Fashion Design and Store Display Based on Cloud Computing." Applied Mechanics and Materials 263-266 (December 2012): 2035–38. http://dx.doi.org/10.4028/www.scientific.net/amm.263-266.2035.
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Along with the continuous development of the social economy and living standard, the expectation which people treat the products of clothing become more and more high. In this paper, the cloud computing was adopted to further enhance the support for the design and sale of the clothing. Through the analysis of the design ideas for 3d fashion design and visual store, a 3d design cloud platform with best visual display effect was constructed. Besides, aiming at the 3d animatic content in the fashion design and visual store, the high- performance rendering cluster system was planned to support the function. Multiple computers were utilized to render one scene file in union. During the rendering, the cluster were supervised and controlled to render the sequencing frame of the movies or images. After later synthesis, the final animation was finished and the rendering results were stored.
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Athamneh, Naser Al-Hassan, and Jehan Ibrahim Zitawi. "English-Arabic Translation of Dubbed Children's Animated Pictures." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 2 (1999): 127–48. http://dx.doi.org/10.1075/babel.45.2.03ath.
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Abstract This study aims at evaluating the translation of dubbed children's animated pictures shown on Jordan Television and other Arab televisions in terms of accuracy and faithfulness to the original text. In an attempt to achieve this goal, the researchers have studies the translations of (56) episodes of Arabic versions of five children's animated pictures. Upon close examination of the translated material, it has been found that most of the translators have given erroneous renderings of some portions of the original texts, thus distorting the message conveyed in the target language text and, consequently, affecting, in a direct way, the educational level of the children. The researchers analyse and categorise some erroneously translated words, phrases and sentences observed in the corpus of the study. They also try to attribute the errors to their possible causes. Finally, the researchers suggest alternative, supposedly more appropriate translations of the source language utterances. The study concludes with some recommendations which would hopefully enhance the process of translating dubbed children's animated pictures in general and improve the performance of Arab translators working in the field of English-Arabic dubbing. Résumé Le but de l'étude est d'évaluer la traduction de films animés doublés pour enfants, diffusés à la télévision jordanienne et d'autres télévisions arabes en termes de précision et de concordance avec le texte original. Dans un effort d'arriver à cette fin, les chercheurs ont étudié les traductions de 56 épisodes des versions arabes de cinq films animés pour enfants. Suite à un examen approfondi du matérial traduit, on a trouvé que la plupart des traducteurs ont donné une version erronée de certaines parties des textes originaux déformant ainsi le message transmis dans la lnague cible et, par conséquent, ayant une influence directe sur le niveau d'instruction de l'enfant. Dans le corpus de l'étude, les chercheurs analysent et categorisent certains mots, locutions et phrases observés et traduits erronément. Ils font également un effort pour attribuer les erreurs à leurs causes probables. Enfin, les chercheurs suggèrent une alternative et, par supposition, mieux appropriée des propos de la langue de départ. L'étude termine avec quelques recommandations qu'on espère, relèverait en général le processus de la traduction de films animés doublés pour enfants et améliorerait la tāche des traducteurs arabes spécialisés dans le domaine du doublage anglais-arabe.
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NESME, MATTHIEU, FRANÇOIS FAURE, and YOHAN PAYAN. "ACCURATE INTERACTIVE ANIMATION OF DEFORMABLE MODELS AT ARBITRARY RESOLUTION." International Journal of Image and Graphics 10, no. 02 (2010): 175–202. http://dx.doi.org/10.1142/s021946781000372x.
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Providing realistic interactive simulation requires a powerful animation method with a highly detailed rendering. Based on continuum mechanics, the finite element method needs a volumetric representation of the object to animate. This paper proposes an automatic method for building meshes that are well adapted to interactive simulation starting from miscellaneous input data. Contrary to commonly used methods based on tetrahedral volume meshing, the object is embedded in a regular grid of deformable hexahedra at an arbitrary resolution. This alleviates the complexities and limitations of tetrahedra and results in regular, well-conditioned meshes. Mass and stiffness are set in order to model the physical properties as accurately as possible at any given resolution, in a manner that takes into account the distribution of material within the hexahedra. This allows us to accurately model the mechanical properties of the partially empty boundary hexahedra, and thus enables us to perform fast simulation at a coarse resolution. The accuracy of this approach is compared to theoretical results. In addition, we extend a fast and robust co-rotational approach to the case of hexahedral elements. This permits simulation of arbitrarily complex shapes at interactive rates. We show how to build the hexahedra directly from surfaces and from segmented scanned data, which is very useful to animate complex artistic models or patient specific models for individual medical simulation. Finally, we show how a fast volumetric rendering can make efficient use of the grid structure.
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Knöpfle, Christian, and Yvonne Jung. "The Virtual Human Platform: Simplifying the Use of Virtual Characters." International Journal of Virtual Reality 5, no. 2 (2006): 25–30. http://dx.doi.org/10.20870/ijvr.2006.5.2.2685.
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In this paper, we will explain our approach to create and animate virtual characters for real-time rendering applications in an easy and intuitive way. Furthermore we show a way how to develop interactive storylines for such real-time environments involving the created characters. We outline useful extensions for character animation based on the VRML97 and X3D standards and describe how to incorporate commercial tools for an optimized workflow. These results were developed within the Virtual Human project. An overview of the project is included in this paper
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Xu, Tianchen, Mo Chen, Ming Xie, and Enhua Wu. "A Skinning Method in Real-time Skeletal Character Animation." International Journal of Virtual Reality 10, no. 3 (2011): 25–31. http://dx.doi.org/10.20870/ijvr.2011.10.3.2818.
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With regard to skeletal character animation, the question on how to ensure the quality of transition between key frames is of crucial importance. The lack of properly defined motion ranges based on movements would leave the animator with no choice but intervene the result based on camera perspective afterwards, thus creating a lot more work for the animator to modify or clean up the animation curves. Although a number of methods have been raised in these years, such as the Linear Blending Skinning (LBS), they may still have shortcomings in some specific cases, one of which is the obvious unnatural deformation around the joint areas. The primary investigation in this paper is directed to address the problem and improve the framework of rendering in real-time environment with satisfactory skinning effect to the aforementioned scenario, with assistance of GPU computation
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Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.
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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera parameters found in animation software 3D Studio Max. The final form is the camera pictures and parameters of used lens with the results of rendering images with the software-related parameter.
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Forrest, David, and Beth Johnson. "Erasing Diversity: Mediating Class, Place, Gender and Race in The Moorside." Journal of British Cinema and Television 17, no. 1 (2020): 91–111. http://dx.doi.org/10.3366/jbctv.2020.0509.
Full textAbstract:
This article is focused on the 2017 BBC drama, The Moorside. Over two episodes, it revisits the events surrounding the ‘disappearance’ of Shannon Matthews, a nine-year-old schoolgirl from Dewsbury in West Yorkshire, with the drama culminating in the arrest of Shannon's mother, Karen, on charges of child neglect and perverting the course of justice. We identify the events depicted in The Moorside and, in particular, the media's framing of them, as central to the formation of pervasive and corrosive narratives of ‘broken Britain’. In revisiting the Matthews case, The Moorside re-animates and, we argue here, further perpetuates these discourses by rendering them through highly constructed and reductive frameworks of class, place, gender and race. Our analysis considers the textual strategies at work in the drama, some of its key intertexts, questions of diversity – in class terms – within the BBC, and the role of Sheridan Smith, The Moorside's ‘star’, as a conduit for narratives of regional and social identity.