Tesi sul tema "Computer graphic imagery (CGI)"

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.

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.

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)

Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2003.
Includes bibliographical references (leaves 83-86). Also available in electronic version. Access restricted to campus users.

Advances in 3D computer technology have led to aesthetic experimentation within the comics medium. Comic creators have produced comic books done entirely with 3D models that are then assembled digitally for the printed page. However, in using these 3D objects in a comic format, the creators have developed art styles that do not adhere to the paradigms established by this traditionally 2D medium. More successful results can be achieved by integrating 3D computer generated imagery with traditional 2D imagery, rather than replacing it. This thesis develops a method of combining rendered 3D models with 2D vector graphics to create a comic book art style that is consistent with the traditional medium, while still taking advantage of the new technology.

Thesis (Ph. D.)--Hong Kong University of Science and Technology, 2004.
Includes bibliographical references (leaves 119-123). Also available in electronic version. Access restricted to campus users.

Entre la première thèse en informatique graphique (soutenue en 1968) et la première publicité entièrement synthétique diffusée à la télévision (en 1983), les images de synthèse se transforment en “nouvelles images”. Il ne s’agit pas d’évaluer ces prétendues images nouvelles en fonction de leurs qualités distinctives de rupture ou de continuité que l’expression a tendance à appeler, mais d’étudier leur mode de production et de représentation afin de déterminer ce qu’elles montrent des techniques employées, et les imaginaires que ces dernières véhiculent au moment d’émergence de l’image numérique, comme autant de propositions créatives mais aussi d’enjeux idéologiques. Étudiées d’un point de vue technique puis esthétique, grâce à l’étude croisée de témoignages, de littérature grise, et de l’analyse formelle des films, ces productions donnent à voir un processus de réappropriation du médium, avant et après l’image. Si elle définit une histoire « officielle » des images de synthèse en France, en replaçant aussi précisément que possible les productions dans leur environnement technique, politique et culturel, cette thèse a finalement mis en évidence les temps des images de synthèse en tant que produit innovant, depuis leurs lieux de fabrication jusqu’à leurs lieux de légitimation. Ses conclusions mettent en jeu les différentes circulations locales des hommes, des outils et des images, au moment où la politique culturelle de 1981 favorise la jonction art-ordinateur, et l’indiscipline des créations
Between the first PhD in computer graphics (defended in 1968) and the first entirely synthetic advertisement broadcast on television (1983), computer-generated images became “new images”. The aim is not to assess these so-called new images according to their distinctive qualities of rupture or continuity, as the expression would suggest, but rather to study their mode of production and representation in order to determine what they show from the techniques employed, and the imaginative worlds that they convey at the time of the emergence of digital images, like so many creative suggestions but also ideological issues. Studied first from a technical, then from an aesthetic point of view, thanks to the cross-study of testimonies, grey literature and a formal analysis of the movies, these productions show a process of recovery of the medium, before and after the image. This PhD not only defines an “official” history of computer-generated images in France, replacing as precisely as possible the productions in their technical, political and cultural environment, but it also reveals when computer-generated images are innovating products, from their places of fabrication to their places of legitimacy. The conclusions question the different local circulations of people, tools and images, at a time when the cultural policies of the year 1981 promotes the bond between art and computer, and the indiscipline of creations

The Universal Declaration of Human Rights article 27 shows that copyright law has two functions. ‘everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has right to protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.’[1]  These functions are supporting cultural aspects on society and give a prior right to holder of the copyright to secure and use the work. On the other hand, copyright secures the personality and property rights of the copyright holder. When talking about copyright as an international concept we can state that copyright is not an absolute right, it is limited by the common wellbeing of society, meaning that quoting and getting the information or ideas from other’s work is accepted. Ideas, principles, thoughts, or themes are not included in the scope of copyright protection.[2] Copyright can be created only by a human, but it can be transferred to a legal person like a company. Not that long-ago computer programs were not seen as tangible property and that is why the damages done to the programs were hard to prove as a criminal action.[3] Copyright protects the artistic work during the whole lifetime of author and 70 years after his death. It can be said that copyright and related rights are less protective than industrial registered intellectual property, on contrary, copyright is not limiting the protection to the level of success or requirements, while for example, patent law is very restrictive about the quality of product.[4] Copyright law is a territorial limited law, led by international regulations like the Berne Convention for the Protection of Literary and Artistic Works (hereafter Berne Convention)[5] and European Copyright Directive (hereafter DSM Directive).[6] Photoshop and image manipulation are present in everyday life, this kind of services can be offered even to children for their school portals. Use of computer-generated pictures and films is increasing in campaigns, news and movies. This kind of image technology can be used for making simulations of law cases or “waking up” movie stars from death. The scale of use is endless. The artificial intelligence (hereafter AI) technology behind computer-generated imageries is called deep learning. Deep learning is an advanced type of machine learning and it is used at, for example, computer programs, self-driving cars, and targeted online advertising.[7] The artificial intelligence software makes generating easy and possible for larger user groups and develops images, which brings more legal problems as well. Computer-generated imageries (hereafter CGI) are used for the entertainment industry for different targets and upgrade the film for a new level. In the same time, it can be used for an act of revenge, when the content is defamation the person at the picture, or it can be used for fake news. These kinds of computer-generated imageries are called deep fakes. Sometimes the imageries done by AI or other software are so real that it is almost impossible to recognize the difference with the bare eye, the content of the deep fake can lead the viewer to wrong. The problem of deep fakes has been identified by the governments as well as by the large corporations, for example, Facebook. Facebook, which is one the world’s biggest social media network, has decided to delete and ban deep fakes on its pages according to Monica Bickert vice-president of Facebook. The ban does not apply the parody or satire content, which is one argument that copyright holders are relying on deep fakes.[8] The aim of the thesis is to recognise all aspects of copyright law implications; including the rights of the owner of original work, rights of the owner of new work, rights of the persons that are at the copyright-protected work and rights of the trademark owner if the trademark is used on imagery. [1] The Universal Declaration of Human Rights by the United Nations General Assembly on 10 December 1948 [2] Article 2 of Berne Convention for the Protection of Literary and Artistic Works. September 9, 1886 regulates the scope of the works which are enjoying copyright protection. Guidelines to Berne Convention paragraph 2.2 and 2.3 state that the content itself is not important for copyright protection but the form of the work. Therefore, for example, idea is excluded from the scope of copyright protection. WIPO. Guide to the Berne Convention for the Protection of Literary and Artistic Works. 1978. Retrieved April 25, 2020, from https://www.wipo.int/edocs/pubdocs/en/copyright/615/wipo_pub_615.pdf [3] Cox v Riley (1986) 83 Cr App R 54. The employee erased several programs from the magnetic cards and was charged with criminal damage. Employee argued that he was not guilty because the computer programs were not tangible property. Court held that even though the computer programs were not tangible property the damages done to the cards were enough to be charged in a criminal sentence. [4] Pila, J. Torremans, P. European Intellectual Property Law. 2nd edition. 2019. Oxford. [5] Berne Convention for the Protection of Literary and Artistic Works. September 9, 1886. The latest text of Berne Convention (from 1971 Paris Act plus Appendix) will be used at thesis. [6] Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the Digital Single Market and amending Directive 96/9/EC and 2001/29/EC [7] Rouse, M. Definition ‘deep learning’. TechTarget. 2019. Retrieved May 25, 2020, from  https://searchenterpriseai.techtarget.com/definition/deep-learning-deep-neural-network [8] Bickert, M. Enforcing Against Manipulated Media. 2020. Retrieved May 9, 2020, from   https://about.fb.com/news/2020/01/enforcing-against-manipulated-media/

Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affrontare con la smaterializzazione dell’elemento organico. A partire da una panoramica storica sull’avvento del digitale nel cinema contemporaneo, si arriva a tracciare una linea evolutiva del corpo e del volto per meglio contestualizzare i campi di azione della Performance Capture. Il digitale e la Performance Capture sono fenomeni il cui sviluppo è ancora pienamente in atto, dagli esiti futuri ancora imprevedibili. Il proposito di questa ricerca è stabilire se il cinema stia diventando come paventa Lev Manovich, “a slave to the computer” o se, al contrario, le nuove tecnologie possano rafforzare le capacità artistiche, e perciò profondamente umane, del mezzo.
After the revolutionary phases brought by the introduction of sound and color, the seventh art is going through another, even more radical, renewal: the digital tsunami, where video is taking over the film and Computer Graphic is ruling the field of special effects. This project , situated inside a perspective of substantial change, is focused on the analysis of the role of the new actor and of his body, reconstructed after the disappearance of the organic elements in favor of the digital ones. Starting from an historical overview on the advent of digital cinema, this research aims to follow the development of Performance Capture, a technique capable to rewrite the rules of acting and directing. Digital moviemaking, CGI and Performance Capture, in particular, are phenomena in constant development, whose future effects are still not predictable. The purpose of this research is to establish whether cinema is becoming, like Manovich suggests, like Lev Manovich says, a “slave to the computer” , or if, on the contrary, new technologies will be able to strengthen its artistic, therefore human, sides.

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

Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia
Nesta dissertação é descrita toda a produção da curta-metragem de animação “A Caçada”, adaptada do conto homónimo de Miguel Torga, com principal foco nas técnicas de Computer-generated Imagery (CGI) e Motion Capture (MoCap).O objetivo passou por produzir uma curta-metragem de animação de raiz, experienciando as diferentes fases na produção de um filme, pré-produção, produção e pós-produção. Explorar CGI, MoCap e combinar cenários reais com personagens 3D. Adaptou-se o conto literário de Miguel Torga e desenvolveu-se um projeto de design de personagens.Esta dissertação surge, não só, mas também, para tirar partido de tecnologias como Computer-generated Imagery (CGI) e Motion Capture (MoCap), tecnologias que há poucos anos eram só acessíveis às grandes produções de cinema, propondo a produção duma curta-metragem que alia a tecnologia à forma mais clássica do cinema e aborda um conto de um autor sobejamente conhecido.Tal como referido anteriormente, o principal foco desta dissertação é desenvolver um projeto de design de personagens e adaptação a curta-metragem de animação digital. Explorando CGI e MoCap, combinação de cenários mistos, com o propósito de criar uma curta-metragem, adaptando o conto “A Caçada” do livro “Novos Contos da Montanha” de Miguel Torga (1944), fazendo uso das competências aprendidas.A dissertação tenta dar resposta a uma questão importante e, por vezes, decisiva: em que medida é possível fazer um filme de baixo custo, utilizando técnicas de Computer-generated Imagery (CGI) e Motion Capture (MoCap)?
This dissertation describes the entire production of the animated short film "A Caçada", adapted from Miguel Torga's homonymous tale, with a focus on Computer-generated Imagery (CGI) and Motion Capture (MoCap) techniques.The goal was to produce an animated short film from the beginning, experiencing the different stages in the production of a film, pre-production, production and post-production. Explore CGI, MoCap and combine real-world scenarios with 3D characters. Adapted the short story of Miguel Torga and developed a design of characters.This dissertation emerges, not only, but also to take advantage of technologies such as Computer-Generated Imagery (CGI) and Motion Capture (MoCap), technologies that only a few years ago were only accessible to major film productions, proposing the production of a short film that combines technology with the most classic form of cinema and addresses a well-known author's short story.As mentioned previously, the main focus of this dissertation is to develop a project of character design and adaptation to the short film of digital animation. Exploring CGI and MoCap, a combination of mixed scenarios, with the purpose of creating a short film, adapting the story "A Caçada" from the book "Novos Contos da Montanha" by Miguel Torga (1944), making use of the learned skills.The dissertation tries to answer an important and sometimes decisive question: to what extent is it possible to make a low-cost film using Computer-generated Imagery (CGI) and Motion Capture (MoCap)?