Relevant bibliographies by topics / Digital compositing

Contents

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

Academic literature on the topic 'Digital compositing'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Digital compositing"

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Zhi, Jin. "Digital Compositing for Moving Images." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 11–20. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35484.

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Symes, Peter D. "Real-Time Multilevel Digital Compositing: Quality Issues." SMPTE Journal 98, no. 5 (May 1989): 376–78. http://dx.doi.org/10.5594/j02761.

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Symes, Peter D. "Tutorial Paper: Multilevel Compositing in the Digital Domain." SMPTE Journal 97, no. 8 (August 1988): 613–15. http://dx.doi.org/10.5594/j03982.

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Ardiyan, Ardiyan. "Video Tracking dalam Digital Compositing untuk Paska Produksi Video." Humaniora 3, no. 1 (April 30, 2012): 1. http://dx.doi.org/10.21512/humaniora.v3i1.3227.

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Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.
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Lee, Junsang, and Imgeun Lee. "A Study on Correcting Virtual Camera Tracking Data for Digital Compositing." Journal of the Korea Society of Computer and Information 17, no. 11 (November 30, 2012): 39–46. http://dx.doi.org/10.9708/jksci/2012.17.11.039.

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Chernyshov, Dimitri, Garn Morrel, and Ginny Faison. "Real-Time Digital Compositing in Anti-Aliased Text and Graphics Generation." SMPTE Journal 98, no. 7 (July 1989): 512–14. http://dx.doi.org/10.5594/j02716.

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Yoyonefendi, Lusiana, Rometdo Muzawi, Karpen, and Wirta Agustin. "PELATIHAN AFTER EFECTS UNTUK MENINGKATKAN KREATIFITAS SISWA JURUSAN MULTIMEDIA SMK MUHAMMADIYAH 2 PEKANBARU." J-COSCIS : Journal of Computer Science Community Service 2, no. 1 (January 3, 2022): 39–45. http://dx.doi.org/10.31849/jcoscis.v2i1.8387.

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Abstrak: After Effects salah satu software efek digital visual, grafis gerak, dan aplikasi compositing yang dikembangkan oleh Adobe Systems dan digunakan dalam proses pasca produksi pembuatan film dan produksi televisi. After Effects dapat digunakan untuk memasukkan, melacak, rotoscoping, compositing dan animasi. Kegiatan pelatihan ini ditujukan pada siswa –siswi SMK Muhammadiyah 2 Pekanbaru jurusan Multimedia. Siswa diberikan materi dari konsep pengembangan multimedia, pengenalan after effects, pengenalan tool, project opening, animasi teks dan mini kompetisi multimedia. Dengan adanya pelatihan ini akan meningkatkan kreatifitas multimedia untuk menjadi bekal siswa dalam menghadapi magang dan Ujian Keahlian Kompetensi (UKK). Kata Kunci: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru Abstract: After Effects is a digital visual effects software, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. After Effects can be used for inserting, tracing, rotoscoping, compositing and animation. This training activity is aimed at students of SMK Muhammadiyah 2 Pekanbaru majoring in Multimedia. Students are given material from the concept of multimedia development, introduction to after effects, introduction to tools, project opening, text animation and multimedia mini competition. With this training, it will increase multimedia creativity to equip students to face internships and the Competency Skills Exam (UKK). Keywords: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru
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Lamborelle, B., A. Legault, J. Matey, and T. Mattioli. "Integrating PC-based Editing, Compositing, and Graphics Systems into the Digital Studio." SMPTE Journal 110, no. 6 (June 2001): 372–76. http://dx.doi.org/10.5594/j11605.

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Lefebvre, Martin, and Marc Furstenau. "Digital Editing and Montage: The Vanishing Celluloid and Beyond." Cinémas 13, no. 1-2 (April 26, 2004): 69–107. http://dx.doi.org/10.7202/007957ar.

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Abstract In this essay we consider some of the effects of digital film editing technology on editing. Through an analysis of this technology, as well as DVD technology, we examine the impact these new interfaces have on the film experience. In addition, a study of the effects of compositing—understood here as digital montage par excellence—permits us to dig deeper into its impact on traditional approaches to film style, as well as to question the anxiety stemming from the new technology, given that many critics today argue that digitization has obliterated film’s indexicality.
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Kim, Donghyun, and Minho Kim. "Study of Overlap Block-Layer Compositing Technology in Digital Watermarking and XML Data Encryption." Journal of Security Engineering 11, no. 3 (June 30, 2014): 207–20. http://dx.doi.org/10.14257/jse.2014.06.04.

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Dissertations / Theses on the topic "Digital compositing"

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Stanley, Michael Leighton. "Digital compositing with traditional artwork." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2643.

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This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums.
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Gustafsson, Pär. "Digital compositing i 3D-miljö." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-5641.

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I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.

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Amelang, Daniel James. "Jitblt efficient run-time code generation for digital compositing /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1457313.

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Thesis (M.S.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Nov. 6, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 28-30).
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Abler, Jensen. "Rendering and Compositing for Visual Effects." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/232.

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The methods used to create visual effects for feature film production are quickly evolving. Cutting edge techniques are constantly being improved upon, and the capability to solve unique problems is paramount in real world production. I present a creative project which utilizes novel applications of common techniques, such as projection mapping, multi-tile UV workflows, procedural texture generation, normal mapping, and image based lighting.
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Sencar, Isil. "The New Montage: Digital Compositing And Its Generative Role In Architecture." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12609214/index.pdf.

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This thesis is an investigation on the changing concept of space and its production, through a reconsideration of montage in the digital environment. Since the beginning of the twentieth century, collage and montage have been one of the key terms that lead the movements of art and architecture. Towards the end of the 80s, however, as a result of the introduction of the digital environment, the quality and quantity of methods of production and transfer of knowledge have increased and the flow of information has gained a noticeable importance. Through recent developments, the digital environment offers many opportunities for representation in architectural field as well as other professions. Montage, which is a technique for construction of a new meaning or entity throughout its history, now changes its character with the infinitely many opportunities digital environment proposes as well. Therefore, this thesis tries to examine the changing scope and formulation of montage in this specific environment through the example of digital compositing which is a recent design and production technique used in the field of photography and cinema. Digital compositing provides layering, editing and merging numerous elements in one frame. Through its inherent potential of decomposing time and juxtaposing different modes of realities, the concept of space and production and visualization techniques in the digital medium change also affecting the roles of the designer and the user in the process. Thus, this new formulation brings forward a new understanding of design process that acts as an interface both spatially and temporally.
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Andrijasevic, Neda, and Mirjam Johansson. "Digital Compositing for Photorealism and Lighting in Chroma key film studio." Thesis, Högskolan i Jönköping, Tekniska Högskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-19845.

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Photorealism is what visual effects are all about most of the time. This report entails digital compositing and studio lighting, in relation to Chroma key film material, aimed to give a photorealistic impression.    One of the identified problems in this report is that compositors may get Chroma key footage where the lighting is done poorly, which means a lot of extra work for the compositors and it might even make it impossible to create the desired end result.    Another problem recognized is that the knowledge that these professions possess is often tacit, not available in texts or even functionally defined.    Considering these problems, the purpose of this report is to articulate and try the tacit knowledge found in respect to these research questions: Which factors can alter the photorealistic impression of filmed Chroma key material? To what extent can different factors be altered in the compositing process, for a photorealistic result? How can a photorealistic result from composited Chroma key material be enabled and facilitated, with focus on studio lighting?       Methods used to answer these questions are interviews with compositors, a case study of a small video production, and the production of video clips, including studio lighting and compositing.    While professionals often write about the importance of consistency in image characteristics between different element that are composited together, this report defines which specific features that ought to be consistent, for a photorealistic result.    Further findings are focused on the limitations of the compositor; i.e. the features that are possible to manipulate and the features that have to be set correctly when filming in the studio, to enable a photorealistic outcome. Nonetheless, the main focus will be on the features of lighting set in the Chroma key film studio.    In fact, there are many features that are crucial for enabling and facilitating the compositing of a photorealistic end product. While some of the findings are new, others confirm what has already been presented.
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Johnson, Paul. "Invisibilising the corporeal : exploring concepts of compositing and digital visual effects." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4055.

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This thesis seeks to explore the way in which invisibility as a concept becomes explicitly housed within digital compositing, visual effects (VFX) and certain attendant techniques. The chapters will establish how compositing and effects techniques can be seen as pushing modern filmmaking into concealing, and therefore visually releasing, certain physical structures within films’ images and their production. This shall be achieved by drawing upon a combination of texts that disseminate the technical nature and make-up of VFX, alongside discussion and theorisation of their use within cinema, together with other established film theory. I will examine cases of VFX techniques within cinema that can be used to investigate how their construction and utilisation create invisibility to accommodate and nullify the profilmic elements captured through the camera and aspects of technology. The chapters begin by examining how the work of Georges Méliès, whose films use the concept of invisibility to promote a breakdown of temporal and spatial qualities, become redeployed in certain modern digital effects-based films. Expanding on this, the second chapter explores how theories surrounding realism as espoused through mise-en-scène and the so-called physical “truth” of the captured world can be rearticulated through VFX both optical and digital. Chapter three looks at how breaking down the physical structure of a performer through VFX and motion-capture result in characterisations that produce a sense of ghostliness, where the Bazinian mummification of photographic capture has new existence breathed into it. Finally, chapter four explores how recent developments in effects techniques in creating the Invisible Man act as a reflection of the physical body unbound in a digital world. Here, the digital infrastructure of modern culture, such as the Internet, is used to highlight how a more free-flowing and vivacious body can exist and make use of unseen and non-physical practices to commit nefarious acts, such as hacking. It is these aspects that become reflected in the most recent film iteration of the Invisible Man, Hollow Man (2000).
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Grönlund, Sven. "Utvecklingen av digital compositing : Från att skapa konstgjorda verkligheter i kameran till att göra det digitalt." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64968.

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Grundhöfer, Anselm [Verfasser], and Oliver [Akademischer Betreuer] Bimber. "Synchronized Illumination Modulation for Digital Video Compositing / Anselm Grundhöfer ; Betreuer: Oliver Bimber." Weimar : Juniorprofessur Augmented Reality, 2010. http://d-nb.info/1115342398/34.

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Dunn, Brandi Jannine. "Creating believabilty and the effects of technology on compositing." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4752.

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This thesis focuses on the importance of technology to create believably composited effects. It was found that many factors culminate in generating believability in a film, including: suspension of disbelief, the story, and the quality of the special effects. Many technical aspects lend to the creation of successful special effects and are involved during every stage of production. There is a discussion of several of the important criteria analyzed during preproduction, production, and post production. A brief history of the technical effect industry is discussed. Personal work for this project includes three case studies. In the form of short video projects, these studies are applications of the researched industry concepts. They deal with issues including incorporation of digital models into live action footage, using pre-existing footage, digital makeup, motion tracking, masking, color correction, and generation of artificial lights and shadows. The creation of these videos included video recording and editing and used Maya TM and After Effects TM. The final shorts showed examples of the strengths and weaknesses of the applied compositing techniques. Implications for the future directions of this field are also discussed.
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Books on the topic "Digital compositing"

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Kelly, Doug. Digital compositing in depth. Scottsdale, Ariz: Coriolis Group Books, 2000.

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Jackson, Wallace. Digital Image Compositing Fundamentals. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1.

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Digital compositing with Nuke. Waltham, MA: Focal Press, 2012.

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Digital compositing for film and video. Boston: Focal, 2002.

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Steve, Wright. Digital compositing for film and video. 3rd ed. Amsterdam: Focal Press/Elsevier, 2010.

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Steve, Wright. Digital compositing for film and video. Boston: Focal Press, 2002.

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Professional digital compositing: Essential tools and techniques. Indianapolis, Ind: Wiley Pub., 2010.

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The art and science of digital compositing. Amsterdam: Morgan Kaufmann, 2008.

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Lanier, Lee. Professional digital compositing: Essential tools and techniques. Indianapolis, Ind: Wiley Pub., 2010.

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Inspired 3D lighting and compositing. Cincinnati, OH: Premier Press, 2002.

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Book chapters on the topic "Digital compositing"

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Jackson, Wallace. "The Digitization of Digital Imaging: Color Depth." In Digital Image Compositing Fundamentals, 31–37. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_5.

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Jackson, Wallace. "The Foundation of Digital Imaging: The Pixel." In Digital Image Compositing Fundamentals, 1–6. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_1.

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Jackson, Wallace. "The Modality of Digital Imaging: Modal Operation." In Digital Image Compositing Fundamentals, 95–110. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_10.

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Jackson, Wallace. "The Automation of Digital Imaging: Plug-In Filters." In Digital Image Compositing Fundamentals, 111–21. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_11.

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Jackson, Wallace. "The Work Process of Digital Imaging: Compositing." In Digital Image Compositing Fundamentals, 123–33. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_12.

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Jackson, Wallace. "The Data Footprint of Digital Images: Optimization." In Digital Image Compositing Fundamentals, 135–50. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_13.

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Jackson, Wallace. "The Automation of Digital Imaging: Programming." In Digital Image Compositing Fundamentals, 151–61. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_14.

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Jackson, Wallace. "The Size of Digital Imaging: Resolution." In Digital Image Compositing Fundamentals, 7–13. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_2.

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Jackson, Wallace. "The Shape of Digital Imaging: Aspect Ratio." In Digital Image Compositing Fundamentals, 15–21. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_3.

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Jackson, Wallace. "The Color of Digital Imaging: Color Theory." In Digital Image Compositing Fundamentals, 23–29. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-4060-1_4.

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Conference papers on the topic "Digital compositing"

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Hudon, Matis, Remi Cozot, and Kadi Bouatouch. "Automatic light compositing using rendered images." In 2016 Digital Media Industry & Academic Forum (DMIAF). IEEE, 2016. http://dx.doi.org/10.1109/dmiaf.2016.7574927.

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Egstad, Jonathan, Mark Davis, and Dylan Lacewell. "Improved deep image compositing using subpixel masks." In DigiPro '15: The Digital Production Symposium. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2791261.2791266.

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Diamond, Mark C. "Digital compositing a full-color holographic animated stereogram." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201924.

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Kanfer, Michael. "Contemporary Techniques for Digital Compositing in Motion Pictures." In SMPTE Technical Conference. IEEE, 1996. http://dx.doi.org/10.5594/m00135.

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Symes, Peter D. "Real-Time Multi-Level Digital Compositing—Quality Issues." In SMPTE Television Conference. IEEE, 1988. http://dx.doi.org/10.5594/m00544.

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Hunt, C. B. "Digital film workstations - evolution in the video compositing suite." In International Broadcasting Convention - IBC '94. IEE, 1994. http://dx.doi.org/10.1049/cp:19940757.

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Ohkawara, Masaru, and Issei Fujishiro. "Illumination-aware Digital Image Compositing for Full-length Human Figures." In 2021 International Conference on Cyberworlds (CW). IEEE, 2021. http://dx.doi.org/10.1109/cw52790.2021.00011.

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Hertz, Paul. "Digital intermedia composition." In ACM SIGGRAPH 2006 Sketches. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179849.1179965.

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Pavlenko, Anastasia N. "German dialect dictionaries: composition and its specialty." In Lexicography of the digital age. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-19-1-2021-72.

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The principles of compiling dialect dictionaries of the German language are discussed. Based on the analysis of the dictionary entries of existing dictionaries, an assessment is made of the reflection of grammatical, phonetic, lexical, cultural information about the lemma in dialect dictionaries.
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"Research on Digital Music Composition Technology." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29117.

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Reports on the topic "Digital compositing"

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Baral, Aniruddha, Jeffery Roesler, and Junryu Fu. Early-age Properties of High-volume Fly Ash Concrete Mixes for Pavement: Volume 2. Illinois Center for Transportation, September 2021. http://dx.doi.org/10.36501/0197-9191/21-031.

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High-volume fly ash concrete (HVFAC) is more cost-efficient, sustainable, and durable than conventional concrete. This report presents a state-of-the-art review of HVFAC properties and different fly ash characterization methods. The main challenges identified for HVFAC for pavements are its early-age properties such as air entrainment, setting time, and strength gain, which are the focus of this research. Five fly ash sources in Illinois have been repeatedly characterized through x-ray diffraction, x-ray fluorescence, and laser diffraction over time. The fly ash oxide compositions from the same source but different quarterly samples were overall consistent with most variations observed in SO3 and MgO content. The minerals present in various fly ash sources were similar over multiple quarters, with the mineral content varying. The types of carbon present in the fly ash were also characterized through x-ray photoelectron spectroscopy, loss on ignition, and foam index tests. A new computer vision–based digital foam index test was developed to automatically capture and quantify a video of the foam layer for better operator and laboratory reliability. The heat of hydration and setting times of HVFAC mixes for different cement and fly ash sources as well as chemical admixtures were investigated using an isothermal calorimeter. Class C HVFAC mixes had a higher sulfate imbalance than Class F mixes. The addition of chemical admixtures (both PCE- and lignosulfonate-based) delayed the hydration, with the delay higher for the PCE-based admixture. Both micro- and nano-limestone replacement were successful in accelerating the setting times, with nano-limestone being more effective than micro-limestone. A field test section constructed of HVFAC showed the feasibility and importance of using the noncontact ultrasound device to measure the final setting time as well as determine the saw-cutting time. Moreover, field implementation of the maturity method based on wireless thermal sensors demonstrated its viability for early opening strength, and only a few sensors with pavement depth are needed to estimate the field maturity.
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Evans, Julie, Kendra Sikes, and Jamie Ratchford. Vegetation classification at Lake Mead National Recreation Area, Mojave National Preserve, Castle Mountains National Monument, and Death Valley National Park: Final report (Revised with Cost Estimate). National Park Service, October 2020. http://dx.doi.org/10.36967/nrr-2279201.

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Vegetation inventory and mapping is a process to document the composition, distribution and abundance of vegetation types across the landscape. The National Park Service’s (NPS) Inventory and Monitoring (I&M) program has determined vegetation inventory and mapping to be an important resource for parks; it is one of 12 baseline inventories of natural resources to be completed for all 270 national parks within the NPS I&M program. The Mojave Desert Network Inventory & Monitoring (MOJN I&M) began its process of vegetation inventory in 2009 for four park units as follows: Lake Mead National Recreation Area (LAKE), Mojave National Preserve (MOJA), Castle Mountains National Monument (CAMO), and Death Valley National Park (DEVA). Mapping is a multi-step and multi-year process involving skills and interactions of several parties, including NPS, with a field ecology team, a classification team, and a mapping team. This process allows for compiling existing vegetation data, collecting new data to fill in gaps, and analyzing the data to develop a classification that then informs the mapping. The final products of this process include a vegetation classification, ecological descriptions and field keys of the vegetation types, and geospatial vegetation maps based on the classification. In this report, we present the narrative and results of the sampling and classification effort. In three other associated reports (Evens et al. 2020a, 2020b, 2020c) are the ecological descriptions and field keys. The resulting products of the vegetation mapping efforts are, or will be, presented in separate reports: mapping at LAKE was completed in 2016, mapping at MOJA and CAMO will be completed in 2020, and mapping at DEVA will occur in 2021. The California Native Plant Society (CNPS) and NatureServe, the classification team, have completed the vegetation classification for these four park units, with field keys and descriptions of the vegetation types developed at the alliance level per the U.S. National Vegetation Classification (USNVC). We have compiled approximately 9,000 existing and new vegetation data records into digital databases in Microsoft Access. The resulting classification and descriptions include approximately 105 alliances and landform types, and over 240 associations. CNPS also has assisted the mapping teams during map reconnaissance visits, follow-up on interpreting vegetation patterns, and general support for the geospatial vegetation maps being produced. A variety of alliances and associations occur in the four park units. Per park, the classification represents approximately 50 alliances at LAKE, 65 at MOJA and CAMO, and 85 at DEVA. Several riparian alliances or associations that are somewhat rare (ranked globally as G3) include shrublands of Pluchea sericea, meadow associations with Distichlis spicata and Juncus cooperi, and woodland associations of Salix laevigata and Prosopis pubescens along playas, streams, and springs. Other rare to somewhat rare types (G2 to G3) include shrubland stands with Eriogonum heermannii, Buddleja utahensis, Mortonia utahensis, and Salvia funerea on rocky calcareous slopes that occur sporadically in LAKE to MOJA and DEVA. Types that are globally rare (G1) include the associations of Swallenia alexandrae on sand dunes and Hecastocleis shockleyi on rocky calcareous slopes in DEVA. Two USNVC vegetation groups hold the highest number of alliances: 1) Warm Semi-Desert Shrub & Herb Dry Wash & Colluvial Slope Group (G541) has nine alliances, and 2) Mojave Mid-Elevation Mixed Desert Scrub Group (G296) has thirteen alliances. These two groups contribute significantly to the diversity of vegetation along alluvial washes and mid-elevation transition zones.
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