Relevant bibliographies by topics / Computer graphic imagery (CGI)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Computer graphic imagery (CGI)'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Computer graphic imagery (CGI)"

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Ghani, Dahlan Abdul. "Visualization Elements of Shadow Play Technique Movement and Study of Computer Graphic Imagery (CGI) In Wayang Kulit Kelantan." International Journal of Art, Culture and Design Technologies 1, no. 1 (January 2011): 50–57. http://dx.doi.org/10.4018/ijacdt.2011010105.

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In the attempt to preserve and safeguard the unique heritage of Wayang Kulit (Shadow Play), UNESCO has designated it as a Masterpiece of Oral and Intangible Heritage of Humanity on 7th November 2003. Wayang Kulit Kelantan in Malaysia is threatened with imminent extinction. This paper reviews the critical situation of Wayang Kulit Kelantan in Malaysia. The visualization and movement of Wayang Kulit Kelantan is described in four major aspects, which are the puppets, shadows, screen for shadow projection (Kelir), and its light source. It also reviews the comparison methods and techniques between Wayang Kulit Kelantan traditional shadow play and Computer Graphics Imagery (CGI) used as a prototype design in Wayang Kulit Kelantan.
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Abdul Manaf, Ahmad Azaini, Siti Nor Fatihah Ismail, and Mohd Rosli Arshad. "PERCEIVED VISUAL CGI FAMILIARITY TOWARDS UNCANNY VALLEY THEORY IN FILM." International Journal of Applied and Creative Arts 2, no. 1 (June 30, 2019): 7–16. http://dx.doi.org/10.33736/ijaca.1575.2019.

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In the enhancement of the advanced technology, the uncanny valley is becoming a high-stakes concern of the entertainment industry to produce good films and animations (Chaminade et al., 2007). Therefore, this study aims to analyse participants’ familiarity towards the usage of digital characters as actors. Then, this article is to convey on how the uncanny valley factors affect audience’s attention in watching films with computer graphic imagery (CGI) elements in films. The researcher has selected visual stimuli that are divided into (4 x 4 factorial design) with 2 subjects of realistic and accurate human characters, meanwhile the second stimuli, researcher selected 2 subjects with minimum characteristic of human likeness. The surveys conducted are self-administered manner with combination of videos and images, distributed online via email and social network. This research concludes, the more familiarity and expectations of the audiences, the higher discomfort feeling when looking to a CGI made character. This illustrates that the longer a duration of CG actors in action, the higher significant weaknesses and substantial of superficial visuals. Therefore, this research is beneficial to assists artists and digital creative directors in digital actor’s creation, and guidance for developing more realistic actors in future projects.
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Riyanto, Slamet, Dany Setiawan, and Aviv Rivaldi. "Media Video Feature Penunjang Promosi Pariwisata Kabupaten Pati – Jawa Tengah." CICES 3, no. 2 (August 31, 2017): 170–81. http://dx.doi.org/10.33050/cices.v3i2.442.

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The tourism sector of the economy section of some of the country's potential and the preoritas development of komudite expected to State financial input, especially for developing countries like Indonesia. Especially in the area of Pati, which has a wide area with potential for cultivation, some of the results varied historical heritage, culture and community kehiduapan a unique and natural beauty that can serve as the local tourist attraction and abroad. Lately the multimedia world is already very familiar ditelinga public. The importance of multimedia delivery of information in the spur of the berkreatifitas designer to create forms of media information more communicative and more efficient that can be attractive to people. Similarly the Tourism District of Central Java province in Starch promotes the garrison prosecuted can be showing something interesting about potential-potential of the area through a form of media can indulge the senses of vision and hearing senses. One of them is with the media featured the cast in a video as a Messenger of information short but very interesting for people to see it. Because of the uniqueness of the dimensions, so that it can be accepted as one of the audio visual media are the most popular. In addition to this, there is a wide range of visual effects computer graphics technique called Computer Generated Imagery (CGI). CGI to process photography, animation is rooted in the world of image and video editing as well as a mix of photography, animation and video editing became an attractive display. Expected with the media featured this Tourism Pati can display an effective promotion and attractive to the wider community to visit attractions that exist in Pati.
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Herman, I., T. Tolnay-Knefely, J. Reviczky, and F. L. Westhoff. "Three-dimensional graphic standards and CGI." Computers & Graphics 12, no. 2 (January 1988): 149–54. http://dx.doi.org/10.1016/0097-8493(88)90025-8.

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Immaniar, Dewi, Lusyani Sunarya, and Muhammad Alfian. "Penerapan Teknologi Computer Generated Imagery Pada Visual Effect Film." CICES 1, no. 1 (August 28, 2015): 10–22. http://dx.doi.org/10.33050/cices.v1i1.119.

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In modern times such as this, the world of entertainment, especially in the film really enjoy doing.Various types of films emerging and very interesting to watch. In the modern era oftelecommunications today, technology is very influential. Mainly in the manufacture of variousfilms. Start of animas to fiction films. At that moment the application of multimedia technology ofcomputer generated imagery is needed, to make a movie that the film will be alive and visible. Inthe filming of Transformers lot of computer generated imagery using this technology, because ofthe effects of a car that turns into a robot is not possible using the manual method such as dressingsets per set of movie. Therefore Computer Generated Imagery is used this technology. In theatmosphere of the original, just needed the room with the green screen background and then willbe processed into a computer and software specifications are quite high. Starting from the effectsof flying to the moon, meteor fall, the transformation changes the shape and use CGI effects,because otherwise the result would not be perfect. Thus the CGI technology is not only used in theTransformers movie pebuatan alone, but also on the making of the film to make it look morestunning and cool.
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Jeong, DooWon, Hyunji Chung, Ilyoung Hong, and Sangjin Lee. "New feature and SVM based advanced classification of Computer Graphics and Photographic Images." Journal of the Korea Institute of Information Security and Cryptology 24, no. 2 (April 30, 2014): 311–18. http://dx.doi.org/10.13089/jkiisc.2014.24.2.311.

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Ardiyansah, Ardiyansah, Ardiyan Ardiyan, and Satrya Mahardhika. "Lingkungan dan Pemukiman Zaman Kerajaan Majapahit dalam CGI (Computer Generated Imagery)." Humaniora 1, no. 2 (October 31, 2010): 728. http://dx.doi.org/10.21512/humaniora.v1i2.2914.

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Majapahit is believed to be a great civilization that once have been victorious in our archipelago. Although much is known about the Majapahit, but it turns out more obscure facts have not been revealed and need to be explored in more depth. One is how the people of Majapahit live their life, how they built the civilization by building houses and how they manage their social environment. Using CGI (Computer Generated Imagery) Technology a "replica" Majapahit life can be built by combining the findings of archaeological and engineering-based digital animation 3d.
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Dromm, Keith. "CGI and Affective Responses to Narrative Films." Film and Philosophy 24 (2020): 156–74. http://dx.doi.org/10.5840/filmphil20202410.

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Computer-generated imagery (CGI) has transformed filmmaking. It has made it possible to film scenes that could not even be conceptualized without such technology. It has also made it easier to film many other types of scenes by relieving filmmakers of the need to reproduce entirely narrative elements at the profilmic level. For example, instead of performing dangerous stunts or creating expensive sets, filmmakers can create these elements digitally. This paper details how this advantage of CGI deprives filmmakers of a technique for enhancing audiences’ affective responses. When elements are duplicated at the profilmic and narrative levels, the overall affective response can be enhanced by eliciting the same affective responses to both levels. I label this phenomenon affect doubling. The dominance of CGI threatens to render this technique obsolete.
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Saunders, Rebecca. "Computer-generated pornography and convergence: Animation and algorithms as new digital desire." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 6, 2019): 241–59. http://dx.doi.org/10.1177/1354856519833591.

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This article is one of the first to consider the digital phenomenon of computer-generated imagery (CGI) pornography, a highly significant site of convergence that combines the technologies, cultures and aesthetics of digital animation, video games and pornographic film. As much of this controversial new content is produced through the hacking of licensed video game franchises, CGI pornography typifies the democratic possibilities of the digital economy. However, this bizarre digital subculture exemplifies too the tension between ludic and labour-intensive digital practises: its production is embedded simultaneously in the anti-productive play of gaming, hacking and pornography, and in the intensive, neo-liberal labour practises associated with free labour and the video game industry. This article explores CGI porn as a specific site of convergence that fundamentally alters the aesthetics and function of digital pornography and relatedly the libidinal subject that is interpolated in this crucial aspect of digital culture. The filmic genre of pornography has a long tradition of producing affective engagement through vicarious access to the material body; its evocations of veracious materiality and presence are only amplified in a digital culture of virtuality and dematerialization. This article analyses how the technological construction of CGI porn is foregrounded in its images and films, highlighting the codes and patterns of the genre and blending them with a stark revelation of the restrictions and capabilities of CGI technology. The article explores how multiple instances of hypermediacy and hypersignification in CGI porn expose and affectively engage with the fact of convergence itself: that is, revealing technological capacities and limitations of digital animation and eroticizing its interpenetration with the films’ diegeses, aesthetics and representations of movement become the central function of this new cultural output. The libidinal focus of this type of digital pornography fundamentally shifts, then, away from the human body and the attempt to gain vicarious imagistic access to it through digital technologies. Instead, the labour of the animator, and the coding and characters they borrow from video game designs, become the libidinal focus of computer-generated pornography. As this new digital phenomenon uncovers and eroticizes the workings of CGI, so it dismantles the veracity and materiality promised by ‘real body’ digital pornography: CGI porn’s stark foregrounding of its technological constructedness clarifies the artificiality of its ‘real body’ counterpart. This article posits, then, an important new site of convergence. Pornography is a central node in the culture, politics and economics of digital technology, and the ways in which its convergence with CGI practises and video game culture has produced not just an entirely new digital phenomenon, but has fundamentally altered digital pornography's conception of the desirous subject and the material body, are crucial.
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McGhee, John, and Nigel Johnson. "Alternative Ways of Seeing the Inner Body: an Arts-Led Approach to Visualising MRI Scan Data." Leonardo 47, no. 1 (February 2014): 90–91. http://dx.doi.org/10.1162/leon_a_00716.

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As artists working with clinical radiological data how might we identify and develop new models of working within the context of disease communication? Historically, we can identify various models of mediating human inner body spaces. This practice-led research explores how a blended model of 3-D CGI image creation can result in imagery that moves beyond the didactic.
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Dissertations / Theses on the topic "Computer graphic imagery (CGI)"

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Yoon, Hyejin. "The Animation Industry: Technological Changes, Production Challenge, and Glogal Shifts." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1212779559.

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Tan, Adrian Hadipriono. "A Computer-Generated Model of the Construction of the Roman Colosseum." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354683991.

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Wu, Yingcai. "Interactive editing and automatic evaluation of direct volume rendered images /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?CSED%202009%20WU.

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Williams, Kyle D. "Commercial remodeling : using computer graphic imagery to evaluate building energy performance during conceptual redesign." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78789.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
This research is an investigation of the relationship between commercial remodeling and building thermal performance. A computer graphic semiotic is developed to display building thermal performance based on this relationship. Commercial remodeling includes everything from minor tenant improvements to whole building redesign. One type of remodeling, rehabilitation, has flourished in recent years and is the concentration of this research. A distinction is made between rehabilitation and other types of remodeling. such as refurbishment. renovation and rebuilding. Rehabilitation is defined as major changes to a building. either to save the building from decay of structure and services or to extensively modify the building for another use. A trend in the building industry towards increased activity in remodeling has been developing over the last ten to fifteen years. Based on the 1982 Census of Construction. Commercial remodeling accounted for about 10% of all nonresidential construction receipts, representing over a four billion dollar market. This trend. as well as the reasons for the trend and its implications to designers is discussed in this research. The combination of continual maintenance, changes in the federal tax Jaws and an acceptance by commercial tenants to be located in rehabilitated buildings are the major reasons for the trend. The energy crisis of 1973 increased public and governmental awareness of the need for thermally responsible buildings. Therefore. building energy use became a design requirement for architects and engineers. Energy use has special significance for remodeling. Because energy systems (lighting. heating and cooling systems) do not last as long as structural systems. a large percentage of the remodeling cost is associated with the renovation or replacement of these systems. Further. operating costs are of primary concern to owners and tenants. The cost of energy and maintenance of energy systems are large contributors to total operating costs. As with any design element. energy use must be considered at the earliest stages of building design or redesign. This is especially true with a remodeling project. The building's existing lighting. heating and cooling systems must be evaluated as well as the building's structure and space allocation. Only after the relationships between these building characteristics are understood can an appropriate design concept be proposed. The computer graphic semiotic proposed as part of this research is used to develop graphic images as aides in determining the relationship between the building configuration and the building's energy use. The basis for this evaluation is energy cost per square foot for each season. and peak heating and cooling loads in 1000 BTU /hr by building zone (north, east. south, west and core). The images are specifically intended for use during predesign evaluation and early conceptual design. Currently, so called computer design tools produce a multitude of confusing numerical tables and equally confusing graphics such as bar and pie charts. The difference between the proposed semiotic and standard graphic theory is that it is intended specifically for use with a computer and takes advantage of a computer's unique capabilities. Typical computer displays are merely standard print graphics produced by a computer. The proposed system displays quantities and the components that make up the quantities. The quantities in the prototype developed are energy cost and peak loads. Each image, representing each quantity, can be independently evaluated. In other words, no ordinate or abscissa is necessary to compare the values of each quantity. The discussion of the new imaging system is concluded with a proposal for future development where each image is used as an "icon" by the user to be manipulated, stored, or combined with other images. With the use of the computer, and a new imaging system. complex data can be visually ordered in a way as to be quickly interpreted and understood. a necessity during conceptual design. Information is thus transformed into knowledge.
by Kyle D. Williams.
M.S.
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Hu, Liang. "Efficient, parallel level-of-detail rendering of meshes /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?CSED%202009%20HU.

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Yeung, Sai Kit. "Modeling and rendering the invisibles and the impossibles from single images : a human-computer interaction approach /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?ECED%202009%20YEUNG.

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Au, Kin Chung. "Sampling-sensitive multiresolution hierarchy for irregular meshes /." View Abstract or Full-Text, 2003. http://library.ust.hk/cgi/db/thesis.pl?COMP%202003%20AU.

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Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2003.
Includes bibliographical references (leaves 57-59). Also available in electronic version. Access restricted to campus users.
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Liu, Chun Hung. "Bit-depth expansion and tone mapping /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?ECED%202008%20LIU.

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Cheng, Cheuk Hong. "Color bit-depth expansion for contour removal and demosaicking of spatial varying exposure array for high dynamic range image capturing /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?ECED%202009%20CHENG.

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Leung, Wing Pan. "Visual cryptography for color images : formal security analysis and new construction /." access full-text access abstract and table of contents, 2009. http://libweb.cityu.edu.hk/cgi-bin/ezdb/thesis.pl?mphil-cs-b23759100f.pdf.

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Thesis (M.Phil.)--City University of Hong Kong, 2009.
"Submitted to Department of Computer Science in partial fulfillment of the requirements for the degree of Master of Philosophy." Includes bibliographical references (leaves 103-108)
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Books on the topic "Computer graphic imagery (CGI)"

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Hybrid imagery: The fusion of technology and graphic design. London: Architecture Design and Technology Press, 1990.

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Hybrid imagery: The fusion of technology and graphic design. New York: Watson-Guptill, 1990.

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Xia tian gong zuo shi, ed. Wo shi tian cai xiao hua jia. Taibei Shi: Xiao shi tou wen hua chu ban gong si, 2016.

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Shu wei nei rong yan jiu shi., ed. Wu dong PhotoShop CS2: Ying xiang cai hui she ji Zhong wen ban. Taibei Shi: Jia hua guo ji gu fen you xian gong si, 2006.

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T, Moore John, Chen Elvis C. S, Holmes David R, and SpringerLink (Online service), eds. Augmented Environments for Computer-Assisted Interventions: 6th International Workshop, AE-CAI 2011, Held in Conjunction with MICCAI 2011, Toronto, ON, Canada, September 22, 2011, Revised Selected Papers. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012.

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Xiao, Liwen. Photoshop CC: 16 ge jing cai fan li, da pei wan shan de ying yin jiao xue, shi nin che di zhang wo Photoshop de bi bei li qi. Taibei Shi: Shang qi zi xun gu fen you xian gong si, 2015.

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Linte, Cristian A. Augmented Environments for Computer-Assisted Interventions: 7th International Workshop, AE-CAI 2012, Held in Conjunction with MICCAI 2012, Nice, France, October 5, 2013, Revised Selected Papers. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013.

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SOC, William E. Hines. Job Descriptions for Film, Video & Cgi (Computer Generated Imagery): Responsibilities and Duties for the Cinematic Craft Categories and Classifications. 5th ed. Ed Venture Books, 1998.

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Institute Of Electrical and Electronics Engineers. International Conference on Computer Graphics, Imaging and Visualization: Cgiv 2004: 26-29 July 2004, Penang, Malaysia: Proceedings. Institute of Electrical & Electronics Enginee, 2004.

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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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Book chapters on the topic "Computer graphic imagery (CGI)"

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Reyes-García, Everardo. "Pervasive Virtual Worlds." In Metaplasticity in Virtual Worlds, 78–89. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-077-8.ch004.

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Digital media have become pervasive. Most of ordinary tasks in everyday life, from leisure to work, are mediated through electronic devices and their respective digital content. The variety of tasks and their integration into computers and portable devices allow us to think about media as a ‘society of media’; a collective of media elements that exchange information and act upon those exchanges. In a society of media, the world is constituted by the hyperspace created by digital media and human uses. Within this context, an interesting role of digital media is that they ‘virtualize’ human senses and capabilities. Historically, the notion of ‘virtuality’ has been associated to seminal media concepts such as virtual worlds, which imply the use of interactive computer graphics imagery (CGI) to perform simulation and immersion. Another concept is virtual reality (VR), which has fostered prominent developments including generated environments, multimodal interaction, 3D modeling, and digital animation.
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"Computer-generated Imagery (CGI)." In The Visual Dictionary of Illustration, 71. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0059.

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LECUYOT, GUY. "Ai Khanum Reconstructed." In After Alexander: Central Asia before Islam. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263846.003.0007.

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This chapter discusses the computer graphic (CG) reconstruction of the ancient city of Ai Khanum. The CG reconstruction project was initiated by a Japanese television producer and the completed images showed the picture of Ai Khanum as a town during the middle of the second century BC, which corresponds to the final architectural phase of the city. The chapter explains that Ai Khanum is a key element for understanding the Hellenization of the East.
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"Case Study 5: The Designed Photograph: Computer Generated Imagery (CGI) in." In Rethinking Photography, 379–90. Routledge, 2015. http://dx.doi.org/10.4324/9781315722412-29.

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Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1391–98. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.

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The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn & Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
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Mee, Nicholas. "Painting By Numbers." In Celestial Tapestry, 259–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851950.003.0025.

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Fractals have a property of self-similarity. They are similar to themselves in different regions, and similar to themselves on different length scales, so an enlargement of part of a fractal looks similar to the whole fractal. Benoit Mandelbrot pointed out that many objects, including coastlines, have a fractal structure. The mathematics of fractals dates back to Gaston Julia, who was seriously injured during the First World War and completed much of his work while recovering in hospital. Computer-generated imagery (CGI) is widely used in the video game and film industries. One technique for generating images of virtual scenes is known as ray-tracing. Filmed footage can be combined with computer-generated imagery using a technique known as chroma key. One of the most creative examples of computer art is the beautiful panoramic video in Pursuit of Venus by Lisa Reihana.
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Morton, Drew. "Comics Are in Right Now?" In Panel to the Screen. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496809780.003.0008.

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This conclusion reconsiders the role of horizontal integration and multimedia conglomerates in the process of stylistic remediation and the industrial motivation behind stylistic remediation, both in films and comics. It shows that horizontal integration and conglomeration have become more influential over the past three decades, as seen in the case of Time Warner. It also discusses the ways in which stylistic remediation can serve as a research and development function by allowing multinational conglomerates to experiment with computer-generated imagery (CGI) and form that can be spread across multiple properties (like “bullet time” in The Matrix). Finally, it examines whether the remediation of comic book stylistics into films is fundamentally a by-product of technologies and an indication of a Manovichian shift from cinema to digital cinema.
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Cubitt, Sean. "Rango and Appearance." In Anecdotal Evidence, 51–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065713.003.0002.

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Gore Verbinski’s computer-animated feature film Rango (2011) uses CGI (computer-generated imagery) to tell the story of a chameleon in the Wild West who learns to become a hero: a common narrative arc. The film also deals with drought. The relation between performance and self-presentation of its animated characters, Rango who pretends to be a hero, and Beans who suffers from spells when she is paralysed and mentally absent, poses ethical questions about the audience’s obligations to the characters. In the narrative, water has become a form of money, and the community is held in debt. The chapter establishes a major theme: the distinction between financial debt and moral obligation, against the background of Rango’s story, the search for someone to be.
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Taylor, Matthew. "Dreaming of Rome with Ridley Scott’s Gladiator (2000)." In Screening the Golden Ages of the Classical Tradition, 259–76. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0015.

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The last of three chapters that address Rome’s complicated legacy as an imperial state tackles Gladiator, the film credited with the post-2000 resurgence of films set in classical antiquity. Taylor analyzes how the film’s imperial-era characters engage in a nostalgic figuration of the Roman Republic as a golden age, in the fight to define Rome once the tyrannical Commodus succeeds his father, the “good emperor” Marcus Aurelius. This fraught representation of Roman history accrues an unexpected complexity and ambivalence as the film attempts to “speak America through Rome,” including through the film’s interpretation of its protagonist Maximus as a Cincinnatus-figure in contrast with Commodus as a Nero-figure. Gladiator’s multifaceted engagement with the fetishized Roman past also seeks to seduce the audience through its hyperreal presentation of the imperial city through heavily advertised use of computer-generated imagery (CGI). Taylor regards with ambivalence the hopes, both in Hollywood and among Classicists, that the critical and commercial success of Gladiator would augur a new “golden age” for epics set in classical antiquity. This mise en abyme of nostalgic longing, both within and inspired by Gladiator,exemplifies the golden-age myth, wherein only fantasy can provide fulfilment.
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Vehlken, Sebastian. "Transformations." In Zootechnologies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986206_ch05.

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Concerned with the general concept of transformations, this chapter focuses on the overlappings of ‘fish and chips.’ Against the backdrop of an epistemology of computer simulation, it describes how a biologization of computer science coincided with a computerization of (swarm) biology. Biological studies, beginning around the year 1980, were increasingly informed by digital media. As a retreat from nature, they employed computer-supported data processing, agent-based computer simulation models, and sophisticated computer graphic imagery. For this epistemology, interference and noise received a constitutive function for setting the parameters and tuning the dynamic models themselves. Conversely, biological knowledge about swarms made its way into computational programming routines and likewise informed fields like agent-based modelling and collective robotics.
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Conference papers on the topic "Computer graphic imagery (CGI)"

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Fua, Plankers, and Thalmann. "From synthesis to analysis: fitting human animation models to image data." In Proceedings Computer Graphics International CGI-99. IEEE, 1999. http://dx.doi.org/10.1109/cgi.1999.777889.

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Jung, Younhyun, and Jinman Kim. "Multi-Modal Image Processing and Visualization." In CGI '16: Computer Graphics International. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2949035.2949063.

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Li, Chenglong, Fan Zhong, and Xueying Qin. "Accurate 3D Head Pose Estimation with noisy RGBD images." In CGI '16: Computer Graphics International. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2949035.2949045.

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Barazzetti, Luigi. "Multi-Affine Misalignment Removal from Bracketed Images for HDR Photography." In CGI '16: Computer Graphics International. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2949035.2949051.

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Liu, Bowen, Ping Li, Bin Sheng, and Enhua Wu. "Image completion with dynamic patches." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095143.

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Шаехова, Ирина, Irina Shaehova, Алексей Панов, Aleksey Panov, Надежда Дегтярёва, Nadezhda Degtyareva, Валерия Иванова, and Valeriya Ivanova. "Problems of using computer control of vermicular graphite in the microstructure of cast iron." In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-1-260-264.

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In recent decades, there has been an increase in industrial interest in compacted graphite iron, which has a very wide range of properties more depended on the graphite form. The same time, to date, there are no methods for controlling graphite in the microstructure of CGI necessary truth. In the present work, the automatic calculation error of the fraction of vermicular graphite is estimated, which is associated with the automatic identification error of the type of graphite inclusion. It is shown that automatic calculation without the metallographist increases accuracy in comparison with GOST 3443-87, but its error remains not acceptably high for materials science tasks and requires further improvement.
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Salido, Julie Ann A., and Conrado Ruiz. "Using morphological operators and inpainting for hair removal in dermoscopic images." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095142.

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Azam, Samiul, and Marina Gavrilova. "License plate image patch filtering using HOG descriptor and bio-inspired optimization." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095141.

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Bao, Yongtang, and Yue Qi. "An adaptive floating tangents fitting with helices method for image-based hair modeling." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095166.

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Agrawal, Sonam, and R. D. Gupta. "Application of image analysis in land-use and land-cover assessment around schools for planning and development." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095144.

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