Review : "Birthday Boy" -- Sejong Park

Synopsis and review of Sejong Park's film Birthday Boy. Includes credits. Birthday Boy has won over 40 awards at film festivals around the world including Best Animated Short at the prestigious SIGGRAPH Computer Animation Festival in 2004 which qualified the film for the 2005 Academy Awards even before Park and fellow students had graduated from the Australian Film, Television and Radio School (AFTRS). It was subsequently nominated for the Oscar for Best Animated Short Film, losing to another extraordinary short, Chris Landreth’s tribute to pioneering Canadian animator Ryan Larkin, Ryan. Other awards include the Prix Jean-Luc Xiberras at the Annecy International Animated Film Festival in 2005 (which had a special focus on Korea) and Best Short Animation at the 2005 BAFTA awards. It has screened at over 100 film festivals around the world, and is the most awarded film in the almost forty year history of the AFTRS...

Future perfect

"Future Perfect" is a solo artist exhibition featuring a 9 channel video installation, which is comprised of looped computer animation projections. In the first room, the big one, there are nine projections of looped computer animations. Many of these look like representations of gallery spaces containing sculptures, including rotating interpenetrating discs, bouncing coloured coffins, and jostling cardboard cubes (the cubes are blank, then covered in drawings, then covered in photographic imagery). In one video, a man and a woman walk towards one another but never get together. In the second room, an animated video on a flatscreen suggests an origin story. The subtitles tell how, in Russia, my great-grandfather made a joke about Stalin's child bride that cost him his life. That one isn’t a loop; it has a beginning, middle, and end. Lying on the floor, in front of the video, are two slightly crumpled mural prints of photographs of the ocean. There's also a clear Perspex cloud shape on a wall. Viewers will see themselves reflected in it, as if it were a distant hovering mirage. The first room of the exhibition, where objects are set in perpetual motion, is about departure. The second room registers some sense of arrival. The future perfect implies looking back on something that hasn't happened yet; future and past are conflated and the present is somehow deferred. The future perfect combines anticipation and reflection, and it relates to my interest in combining 3-D animation with other mediums like drawing, painting, and shot video. In my work, the virtual and actual coexist in tension, just like experience and expectation in the future perfect.

Collision Cones for Quadric Surfaces

The problem of collision prediction in dynamic environments appears in several diverse fields, which include robotics, air vehicles, underwater vehicles, and computer animation. In this paper, collision prediction of objects that move in 3-D environments is considered. Most work on collision prediction assumes objects to be modeled as spheres. However, there are many instances of object shapes where an ellipsoidal or a hyperboloid-like bounding box would be more appropriate. In this paper, a collision cone approach is used to determine collision between objects whose shapes can be modeled by general quadric surfaces. Exact collision conditions for such quadric surfaces are obtained in the form of analytical expressions in the relative velocity space. For objects of arbitrary shapes, exact representations of planar sections of the 3-D collision cone are obtained.

Generalization of the collision cone approach for motion safety in 3-D environments

Avoidance of collision between moving objects in a 3-D environment is fundamental to the problem of planning safe trajectories in dynamic environments. This problem appears in several diverse fields including robotics, air vehicles, underwater vehicles and computer animation. Most of the existing literature on collision prediction assumes objects to be modelled as spheres. While the conservative spherical bounding box is valid in many cases, in many other cases, where objects operate in close proximity, a less conservative approach, that allows objects to be modelled using analytic surfaces that closely mimic the shape of the object, is more desirable. In this paper, a collision cone approach (previously developed only for objects moving on a plane) is used to determine collision between objects, moving in 3-D space, whose shapes can be modelled by general quadric surfaces. Exact collision conditions for such quadric surfaces are obtained and used to derive dynamic inversion based avoidance strategies.

Animated virtual agents to cue user attention: comparison of static and dynamic deictic cues on gaze and touch responses

This paper describes an experiment developed to study the performance of virtual agent animated cues within digital interfaces. Increasingly, agents are used in virtual environments as part of the branding process and to guide user interaction. However, the level of agent detail required to establish and enhance efficient allocation of attention remains unclear. Although complex agent motion is now possible, it is costly to implement and so should only be routinely implemented if a clear benefit can be shown. Pevious methods of assessing the effect of gaze-cueing as a solution to scene complexity have relied principally on two-dimensional static scenes and manual peripheral inputs. Two experiments were run to address the question of agent cues on human-computer interfaces. Both experiments measured the efficiency of agent cues analyzing participant responses either by gaze or by touch respectively. In the first experiment, an eye-movement recorder was used to directly assess the immediate overt allocation of attention by capturing the participant’s eyefixations following presentation of a cueing stimulus. We found that a fully animated agent could speed up user interaction with the interface. When user attention was directed using a fully animated agent cue, users responded 35% faster when compared with stepped 2-image agent cues, and 42% faster when compared with a static 1-image cue. The second experiment recorded participant responses on a touch screen using same agent cues. Analysis of touch inputs confirmed the results of gaze-experiment, where fully animated agent made shortest time response with a slight decrease on the time difference comparisons. Responses to fully animated agent were 17% and 20% faster when compared with 2-image and 1-image cue severally. These results inform techniques aimed at engaging users’ attention in complex scenes such as computer games and digital transactions within public or social interaction contexts by demonstrating the benefits of dynamic gaze and head cueing directly on the users’ eye movements and touch responses.

Flavian laws, the railway, the newspaper and Loring’s breads

It is abound the research on the formation, rise and failure of the financial and industrial network undertaken by the Loring-Heredia-Larios triangle, bourgeois families who introduced the Industrial Revolution in the south of Andalusia. On the contrary, there are almost nonexistent studies from the perspective of the mentality that sustained their business, social and ethical model in the algid decades of their action (1850-1860). In this paper we propose some hypotheses about the ideological structures of bourgeois group and point out some keys, clues and signs for a future reconstruction of this kind, which so far has not been incardinated that early and failed malaguenan industrial revolution in streams thinking of that time.

Modelatge basat en exemples de carrers d’una ciutat

L’objectiu d’aquest projecte és el desenvolupament d’una eina de generació de xarxes de carrers a partir d’exemples. L’eina ha de permetre generar una xarxa de carrers nova que sigui semblant a l’existent en un mapa vectorial donat. A més, també es pretén unir aquesta aplicació amb l’urbanEngine per tal de poder generar vistes en 3D sobre aquestes xarxes de carrers, a més d’ampliar les opcions de l’urbanEngine a l’hora de crear ciutats

Modelatge procedural de ciutats

L’objectiu d’aquest projecte és el desenvolupament d’una eina pel modelatge procedural de ciutats i xarxes de carrers. El modelatge de carrers és, per si sol, un bon tema on aplicar-hi la programació procedural. Les ciutats solen comptar amb patrons que es van repetint al llarg del territori. El fet de “repetir” una tasca suggereix sempre l’aplicació d’algun tipus de procediment per tal de simplificar i reduir la feina de l’usuari a l’hora de desenvolupar aquesta tasca. Shan utilitzat bàsicament tres eines diferents: Un modelador 3D, un llenguatge d’scripting i un llenguatge flexible per a definir els edificis

Creació del Videojoc: “El Mensajero De Pekín”

L’ objectiu és el desenvolupament d'un videojoc (senzill) des d’ una idea inicial fins a un producte acabat i funcional (disseny del joc (la historia, els nivells, els personatges, etc.) com a concepte, programació, disseny gràfic, i finalment el poliment del producte per a que sigui un joc complet) utilitzant un software lliure. S'anomena "El Mensajero de Pekín" l'objectiu com a jugadors és aconseguir repartir uns paquets a una sèrie de bústies seguint una lògica de colors (cada paquet haurà de ser introduït a la bústia del mateix color per sumar punts). Es pot fer tant a mode individual, en el qual haurem de superar uns reptes que ens posi la màquina, com en mode multijugador, de dos a quatre jugadors, en el qual a part de repartir els paquets, haurem d'impedir que els rivals reparteixin els seus

A Monte Carlo method for accelerating the computation of animated radiosity sequences

Realistic rendering animation is known to be an expensive processing task when physically-based global illumination methods are used in order to improve illumination details. This paper presents an acceleration technique to compute animations in radiosity environments. The technique is based on an interpolated approach that exploits temporal coherence in radiosity. A fast global Monte Carlo pre-processing step is introduced to the whole computation of the animated sequence to select important frames. These are fully computed and used as a base for the interpolation of all the sequence. The approach is completely view-independent. Once the illumination is computed, it can be visualized by any animated camera. Results present significant high speed-ups showing that the technique could be an interesting alternative to deterministic methods for computing non-interactive radiosity animations for moderately complex scenarios

The new Hollywood, 1981–1999: special/visual effects

The emergence and development of digital imaging technologies and their impact on mainstream filmmaking is perhaps the most familiar special effects narrative associated with the years 1981-1999. This is in part because some of the questions raised by the rise of the digital still concern us now, but also because key milestone films showcasing advancements in digital imaging technologies appear in this period, including Tron (1982) and its computer generated image elements, the digital morphing in The Abyss (1989) and Terminator 2: Judgment Day (1991), computer animation in Jurassic Park (1993) and Toy Story (1995), digital extras in Titanic (1997), and ‘bullet time’ in The Matrix (1999). As a result it is tempting to characterize 1981-1999 as a ‘transitional period’ in which digital imaging processes grow in prominence and technical sophistication, and what we might call ‘analogue’ special effects processes correspondingly become less common. But such a narrative risks eliding the other practices that also shape effects sequences in this period. Indeed, the 1980s and 1990s are striking for the diverse range of effects practices in evidence in both big budget films and lower budget productions, and for the extent to which analogue practices persist independently of or alongside digital effects work in a range of production and genre contexts. The chapter seeks to document and celebrate this diversity and plurality, this sustaining of earlier traditions of effects practice alongside newer processes, this experimentation with materials and technologies old and new in the service of aesthetic aspirations alongside budgetary and technical constraints. The common characterization of the period as a series of rapid transformations in production workflows, practices and technologies will be interrogated in relation to the persistence of certain key figures as Douglas Trumbull, John Dykstra, and James Cameron, but also through a consideration of the contexts for and influences on creative decision-making. Comparative analyses of the processes used to articulate bodies, space and scale in effects sequences drawn from different generic sites of special effects work, including science fiction, fantasy, and horror, will provide a further frame for the chapter’s mapping of the commonalities and specificities, continuities and variations in effects practices across the period. In the process, the chapter seeks to reclaim analogue processes’ contribution both to moments of explicit spectacle, and to diegetic verisimilitude, in the decades most often associated with the digital’s ‘arrival’.

Add-on in blender per la deformazione di mesh poligonali

L’idea da cui nasce questa tesi è quella di introdurre in Blender un Add-on in linguaggio Python che permetta di applicare alcune deformazioni di tipo surface-based a mesh poligonali. Questa tipologia di deformazioni rappresentano l’alternativa alle deformazioni di mesh poligonali tramite rigging ( cioè l’aggiunta di uno scheletro per controllare e per animare la mesh) e caging (cioè l’utilizzo di una struttura di controllo di tipo reticolare che propaga la sua deformazione su un oggetto in essa immerso), che di solito sono le prescelte in computer animation e in modellazione. Entrambe le deformazioni indicate sono già estremamente radicate in Blender, prova ne è il fatto che esiste più di un modificatore che le implementa, già integrato in codice nativo. Si introduce inizialmente la tecnica di deformazione di mesh poligonali tramite elasticità discreta, che è stata realizzata, quindi, presenteremo diverse metodologie di deformazione. Illustreremo poi come modellare, creare ed editare delle mesh in Blender. Non ci soffermeremo su dettagli puramente dettati dall’interfaccia utente, cercheremo invece di addentrarci nei concetti e nelle strutture teoriche, allo scopo di avere le basi logiche per definire una Add-on che risulti veramente efficace e utile all’interno del sistema di modellazione. Approfondiremo la struttura di due modificatori chiave per la deformazioni di mesh : Lattice Modifier e Mesh Deform Modifier che implementano una metodologia di tipo space-based. Infine ci concentreremo sulla parte di scripting Python in Blender. Daremo un’idea delle strutture dati, dei metodi e delle funzioni da utilizzare per interagire con l’ambiente circostante, con i singoli oggetti ed in particolare con le Mesh e daremo un esempio di script Python. Andremo infine a descrivere l’implementazione della deformazione elastica mediante add-on Python in Blender.

ARTHUR: A Collaborative Augmented Environment for Architectural Design and Urban Planning

Projects in the area of architectural design and urban planning typically engage several architects as well as experts from other professions. While the design and review meetings thus often involve a large number of cooperating participants, the actual design is still done by the individuals in the time in between those meetings using desktop PCs and CAD applications. A real collaborative approach to architectural design and urban planning is often limited to early paper-based sketches.In order to overcome these limitations, we designed and realized the ARTHUR system, an Augmented Reality (AR) enhanced round table to support complex design and planning decisions for architects. WhileAR has been applied to this area earlier, our approach does not try to replace the use of CAD systems but rather integrates them seamlessly into the collaborative AR environment. The approach is enhanced by intuitiveinteraction mechanisms that can be easily con-figured for different application scenarios.